[Captain Mench]

I’m going to go out on a limb here… this isn’t my normal position, but the sheer brawn of the statement might answer your question — but I don’t want it to scare you, because there are worse things in this world than worrying about frame rates.

here goes:

WHY on earth would you EVER want to film with 24 ANYTHING if you are 99% sure you won’t go to film or DVD??!!! That’s just silly. 24p is a film LOOK that serves NO purpose at all to what you can accomplish with 30 frames per second. Then you run into all sorts of redundant frame editing messes and it’s just not going to work. Shoot 30p only because we edit for the 100 people who have the most expensive sets and who won’t want to see any interlacing on their TVs or they’ll call their cable provider and then that cable exec will call me and it’s all down hill.”

Look…

Edit yourself two 2 minute shorts — one with the 24pA material in 23.98 and one with the 24p material cut however you want in a 29.97 timeline. Lay both to tape (making sure you select the 3.2 cadence for the 23.98 transfer back) and go to best buy with a deck or camera and play back the tape on a 50 plus inch plasma whatever — make sure it’s 1080p for goodness sakes!!

See if you like or care which is best.

It’s going to be up to you. But I don’t think you’ll notice much difference. My vote is to convert the 24pA material to 24p mode material and edit it all in a 29.97 timeline. Ideal? No… will it save you time and headache YES!

CaptM

[Captain Mench]

I’m hoping final will actually be 29.97. If not, this person’s in a world of hurt.

If that indeed’s the case, don’t worry about editing the 3:2 (24p mode) material on redundant frames. Been done that way for years, ever since the advent of Digital editing and telecine’d-film filmed TV shows.

CaptM

[Captain Mench]

Is it PPPPIPPPPI the whole time?

That’s 2.3.3.2 cadence…

One way to fix that (if you are going to 24fps is to load it in a FCP sequence and set it to 125 speed with FRAME BLENDING OFF and then export and conform to 24 in Cinema Tools

That will get rid of the duplicate frame.

BUT — make sure this is actually a duplicate frame and not actually an interlaced frame. Put it in FCP and make sure your canvas and viewer are set to 100 percent to see ALL the lines of resolution.

Good luck,

CaptM

[Captain Mench]

You’re on the right path with everything except the 24pA stuff…

If you’ve already captured that material into FCP with the advanced pulldown removed then it’s running at 23.98. You need to get it back to (for lack of a better term…) 24p mode in 29.97 — more on that later…

If it’s still on tape, you could just capture it as 29.97 (which it is) and leave it at that.

BUT – now you’ll have two different cadences running. NO big deal if it doesn’t really bother you.

Here’s what I suggest.

Lay your 24pA (now 23.98) material onto a timeline and make sure your Playback RT cadence settins are at 3:2 and lay it back off to tape.

Then capture it back in as if you shot it 24p — as 29.97 with a 3.2 cadence.

I THINK Cinema Tools will telecine it for you (add back the 3.2 cadence… but I’m not for sure… but probably will. So, to recap:

if the 24pA material is on your computer as 29.97:
1) Edit in 29.97 and leave it alone
2) Remove the Advanced Pulldown cadence and re-employ a 3.2 cadence and edit freely

if the 24pA material is on yoru computer as 23.98
1) Lay it back to tape using 3.2 cadence
2) Use cinema tools to telecine it to 3.2 cadence and edit freely in 29.97

Remember — 24p material shot on the DVX is 23.98 with 3.2 cadence added making it 29.97.

Yes?

Good luck,

CaptM

[Captain Mench]

Ah — good point. The media isn’t on your system drive either, right? — render scratch too. I’ve been at fault after installing FCP to forget to change the scratch and have it default to my Documents folder!!

CaptM

[Captain Mench]

Odd…

I’d check the normal things…

View – External Video – OFF or ALL FRAMES if you are going to an external monitor…

Check the size of the canvas — make sure it’s set to FIT TO WINDOW…

Dbl check the sequence settings and make sure they’re still something normal… DV/NTSC or whatever.

IS this DV? HD? HDV???

Hmmmm

CaptM

[Captain Mench]

Thanks – that’s what I thought. Variable frame rate in camera conversion all got me wondering if this thing of a camera actually shot 60 frames!

Ok — well, we should be able to make this work then. Don’t see why not anymore.

CaptM

[Captain Mench]

I guess MY question would be Um… hey — is i60 the same as 60 interlaced fields flying by at 30 fames per second? Or is i60 actually 60 interlaced frames flyin by at 60 frames per second?

Because if it IS — then we’ve got a mess.

I’d deinterlace the sucker and then just conform to 24. See if that works. Not sure there’s a setting for 1080p120. Maybe I can force it in Shake??

The water is up to my forehead — and my ignorance is starting to show!!!

CaptM

[Captain Mench]

Yeah… my thoughts.

But I don’t have any 1080 stuff myself, so I have no idea what MIGHT be the correct compensation. (Not even sure why it worked the way it did with my (Alex’s) technique.)

Mike

[Captain Mench]

Give this a look:

https://www.proapptips.com/proapptipsvideotutorials/194F4DC2-ACBB-4DD6-A1D0-F46D7D8DCAFC/53B46BA3-E23E-4ACD-888F-1E931224596B.html

I’ve never tried with DivX material…

I’d also suggest you find a better way to do what you are actually doing with things that you might not should do with and get the said things you might not not be getting and convert them to something other than something that isn’t QUICKTIME dv at least!

Yes?

Good luck,

CaptM