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telling the difference between 24p and 24pA
Small problem…
Now, before everyone gets on my for being a bad producer, let me preface this by saying I am NOT producing this project. It is being done in my office, but I am NOT involved. I just happened to hear a conversation between the logging editors and the real producer and almost fell out of my chair that they overlooked this:
They shot HOURS of tape across multiple DVX-100b’s. I kept hearing “24p.” They are about halfway through logging and I walked in and asked if they shot 24p, or 24pA. Cold stares is what I got. Turns out, the tapes are mixed 24p and 24pA and ARE NOT INDICATED ON EACH CASSETTE WHETHER OR NOT IT IS 24P or 24PA. Obviously, the 24p stuff needs to run through cinema tools, whereas the 24pA stuff can have the pulldown removed. There is no way of knowing which is which, so I suggested capturing everything at 29.97, NOT checking remove advanced pulldown, and using a 29.97 timebase. This should be fine, correct? Now, if the producer decides he NEEDS to edit 24p, what would he do?
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1 Reply
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The problem with editing 24pA @ 29.97 is that the motion is going to look a little more jerky than the 24pNormal. I’d get everything down to 23.98 if I were you. the way to tell the difference is that you have to step through frame by frame. 24pNormal will have a pattern of 3 progressive frames followed by two interlaced frames. 24pA will have four progressive frames followed by one interlaced frame. To capture 24pNormal to 23.98 see a few threads down “The Low Down on Pulldown”:
https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=8&postid=904199&pview=t#head
Jeremy
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