[Claire Panke]

Juliana,

Do you STILL have that 5.1.4 update? I got the 5.1 crossgrade but am working with an editor who has 5.1.4. Please let me know, I would greatly appreciate it.

[Claire Panke]

thanks for the confirmation!

cmp

[Claire Panke]

Thank you!

[Claire Panke]

I really don’t know where you are coming from, perhaps you misread my post?

I AM using a deck, a Sony DSR-20. Not sure why you automatically assumed I would not be using a deck.

I DON’T have 24p and 24p advanced footage on the same tape.
I have footage shot in both modes, on SEPARATE tapes.

I am not in high school, I am not a big boy or a small boy or actually a boy at all. I have had a film broadcast, won awards, and am trying to capture and log my footage using FCP – planning to work with a professional editor when the time comes.

Your condescension is unnecessary and frankly counter-productive.

[Claire Panke]

Thanks for that Very Important Information, Dave

I had limited “capture now” to 15 minutes, knowing that I stood a better chance of running into trouble if I had longer clips.

I have done a ton of research about work flows and capture options, marinating myself in information from textbooks and forums like this one and the Apple Support forums.

Until your post, I have never read warnings about capturing large amounts of either 24p or 24p adv footage and am VERY grateful that you shared that info, which make sense as I think about the frame rate cadences and the possibility for error.

Bottom line, there is a lot of conflicting information out there, and most of my editor/filmmaker friends have told me to “just capture the whole tape,” something I was not inclined to do since I on my previous film I logged every tape (100 hours) on VHS window dubs first, and frankly don’t have the storage for capturing every inch of my footage.

I have also read input from “experts” ~ moderators of forums and textbook authors saying it’s better (and easier on your tapes) to capture longer amounts and then go back and log/create subclips. It can be difficult to determine which is the best plan for me, my tapes, my computer, and the amount of storage I can afford.

I do greatly appreciate the information – although I didn’t need the “big boys” comment to be honest. I am amazed that this information isn’t out there on a more consistent basis!

[Claire Panke]

thank you, Matt!

really appreciate having someplace to go, and hopefully this post will help someone in the future with the same question…

[Claire Panke]

Well I think I may have figured this out and would love some confirmation.

I loaded a tape (24p adv) into my deck, opened up the Log & Capture window, started playing the footage and then paused it, restarting it frame-by-frame using the arrow keys.
Four frames are “smooth” and the fifth has that “interlaced look” ~ which, um, I assume to mean that that frame is interlaced. (jagged lines, every other one off-set from the one above and below)

When I put in a tape that I know was shot in standard 24p, I see three “smooth” frames and two of those jagged frames, which makes sense given the 2:3:2:3 cadence.

I think I figured it out, yes? I can look at the footage and see what I’ve got before I capture.

[Claire Panke]

thank you for your response.

In a fit of shame I’m going to ask you – do you mean stepping through the footage in the camera or in FCP (I have a deck that I use for capture). I don’t have a remote for my 100a so I’m trying to figure out how to go frame by frame in-camera.

Also, same fit of shame, how can you tell if something is interlaced or progressive? I feel like a moron asking, and I know WHAT interlaced vs. progressive means, but I would greatly appreciate knowing how to tell which is which. I have been dealing with this for a few days and am going nuts.

[Claire Panke]

thank you – i can EXHALE now!

in any case I am learning a lot, always a good thing.

[Claire Panke]

Well a lot of info has crossed through this thread, leaving me somewhat clearer and somewhat more baffled.

I shot on 24p because I had indeed noticed an improved look in footage shot on 24p in other films, even when NOT output to film, and that look fit with the tone and content of my documentary project. I have tried to find out as much info as I can from varying sources (many of which offer conflicting advice) before shooting, and now, before editing. [By the way I’m not planning on editing the whole film, I’m just trying to log, capture and organize my footage before moving on to working with an editor.]

I apologize for being in the cow pasture if I should really be in the calf pasture,but I have read about and know personally many filmmakers who jump in before checking out the waters, so I’m trying my best to not make a huge mistake and sort through my options.

With the many issues and considerations that have been brought to my attention, I’m afraid that I’m still feeling a bit stuck, afraid to make the wrong choice in terms of working with a 23.98 timeline vs. a 29.97 timeline, ie bring in those four 24padv hours at 29.97 or bring in the 80 hours of standard 24p footage at 29.98. In either case I’m quite sure I’ll be making a master on Digibeta if that is still the broadcast standard (my last film was shot on a VX1000 and was broadcast on The Discovery Channel and National Geographic). I am swimming in images of fields and frames, cadences and failing broadcasters’ standards tests. Lots to digest and try to figure out, thank you for all the advice.