[Bill Dewald]

Its not a matter of codec, its a matter of aspect ratio/ frame size.

How are you exporting your timeline? Compressor? Quicktime Conversion?

Quicktime Conversion defaults to a 4:3 frame. Use a custom size such as 320×180 in order to get a 16:9 frame.

[Bill Dewald]

If you have a camera, its best just to shoot it off of a LCD screen.

Otherwise, you’ll need screen capture software. I used Snapz Pro. There are others.

[Bill Dewald]

Ok – I think I have it straight in my head where things went wrong.

You shot 24p standard (which is a 2:3:2:3 pattern), and then captured with “Advanced 2:3:3:2 Pulldown removal”. Since the capture settings didn’t match the footage, the cadence was incorrect, leading to a interlaced frame every couple of frames.

So, to ingest your 24p Standard footage, capture normally as NTSC-DV (anamorphic, if it applies). Once the footage is ingested, run it through Cinema Tools in order to remove the pulldown, and ta-da – 24p DV footage.

[Benjamin Jones] “If this is the case, why would you ever capture 24p and edit in a 24 frame timeline? “

Here’s the diff – if you’re finshing on NTSC tape (like D-Beta, etc.), you really don’t need to have a 24p workflow. Just ingest the 24p footage like you’d handle your 30p footage, and enjoy the “film look”. This will especially save you a headache if you need to use 60i footage in the project as well.

Having a 24p timeline is handy if:

A. You want to make a 24p DVD

B. You may blow up to a progressive HD format

C. You may do a film-out.

[Bill Dewald]

They are two very different programs – Final Cut Pro is video editing software, After Effects is compositing software.

Final Cut Pro is a part of Final Cut Studio, which is only sold as a bundle. With FCS you also get Motion, which is compositing software like After Effects.

After Effects is sold separately, but also comes as part of the Adobe CS bundle, which includes the video editing software Premiere.

So, do you need to edit video, or do you need to composite video?

[Bill Dewald]

Ah – that ‘splains it…

“Remove Pulldown on Capture” only works with 24p advanced pulldown. For standard pulldown, you have to remove it after the fact.

Use “Tools>Cinema Tools Reverse Telecine” on your clips, or use the Cinema Tools app itself.

But first, to double check –

What is the framerate of the footage that you ingested – does it need to render in the 24p timeline?

And – you are looking at this on an external monitor, right?

Also, under the Sequence RT tab, be sure the playback is not set to 2:2:2:4. That causes a judder…

[Bill Dewald]

[david bogie] ” I do not know if the OP’s camera can be set to shoot 24p absolutely. “

Well, no NTSC camera can shoot 24p “natively”, or “absolutely”. Like the manual explains, these cameras record 24p across 60i with a pulldown pattern.

My guess is that the OP may not have removed the pulldown, or has done it improperly somehow. Changing editing timebases isn’t as simple as switching a mode on a camera…

If the OP isn’t going to film, the quickest fix may be to just cut in a 29.97 timeline.

[Bill Dewald]

Did you shoot 24p or 24pA?

Did you remove the pulldown?

Even if you shot 24p, if you ingest as 29.97 and then cut that into a 24p timeline, bad trouble will result.

What framerate is FCP reporting for your clips? Do you have to render them in the timeline?

How to they look in a 29.97 timeline?

[Bill Dewald]

Yep. And you might want to do a TC burn on the reference QT – it can be handy on the mix stage…

[Bill Dewald]

And give him a DV QT or whatever he wants for reference. An OMF is audio only…

[Bill Dewald]

If you want to cut the tape out of the workflow, why not ingest from the mixer directly into Premiere?

If you want to step up from the line mixer, FCP is not really the tool for the job.

Look into the NewTek Tricaster.