[Claire Panke]

Thank you both for your responses to my post.

The good news is that I have not actually captured any of the footage yet, just did a few tests yesterday, and I apparently still have some decisions to make. I had found info about the plug-in in one of the Ken Stone articles, so I appreciate the added vote for that to help me integrate the standard DV footage in with the stuff shot in 24p.

As suggested, I was planning to take the 24padv footage, capture and place it on a 23.98 timeline (using the “remove advanced pulldown” set-up choice), then output (while I still have this sweet deck) on to a new miniDV tape. I could then re-import it at 29.97 without working with two different cadences in the same timeline. It’s difficult for me to detect any major differences in the motion since I have not been able to get a monitor yet and am only looking on my computer screen.

However, you both bring up something that has me not hitting myself over the head but definitely scratching it; all that I have been reading and researching indicates that if you are not planning to output to film or a 24p DVD, but instead foresee a television broadcast (as was the case with my last film) and perhaps some festival screenings, stick with the 29.97 timeline and use the “DV-NTSC” FCP import setting. I am a little confused with the notion that the stuff I shot in standard 24p (not 2:3:3:2) should go into a 23.98 timeline.

I don’t want to overstay my welcome here, but a little clarification would help and hopefully bring you some good karma 🙂 As I said, I am still at the point where I can do either one, but I don’t anticipate a theatrical release or a need for a film print. However, saving space and improving the final output is of course a consideration. I have about 80 hours shot on standard 24p/F5 mode, and those 4 hours shot in 24padv/F6 mode.

thanks again in advance.