Donovan Kosters
Forum Replies Created
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Got it, that is good to know. Thanks T2.
Donovan Kosters
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Robert,
That is a very vague question, it would completely depend on your overall workflow. What time of image sequence are you wanting to end up with? 23.98 PsF or 29.97 with a pulldown added? I just posted on another thread and this is what I said:
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Generally speaking an HDV tape shot with a Canon camera must be ingested via the Canon camera, neither Sony or JVC decks play back Canon HDV tapes. Unless this has changed that is how it is.As for 24F and 30F modes the thing to know about them is that these were modes developed by Canon to automate the ingest of footage of a 23.98 nature. What happens with 24F mode is that you get a 3:2 cadence of sorts similar to a 29.97 signal with 3:2 pulldown… Except in 24F mode, instead of the interlaced frame you get a duplicate frame, this duplicate frame has a metadata flag on it so that FCP knows to remove it. So on ingest, FCP gets 23.98 automatically. On the tape it is 29.97, but FCP is automatically throwing away the frames that don’t need to be there for a 23.98 signal. In older 24p cameras DVX100, etc you used to have to manually remove these frames via a tool like CinemaTools, etc.
The thing with the 24F mode is that, and I may be wrong, but that pseudo ‘pulldown’ frame is a duplicate of the previous or post frame and not a real interlaced pulldown frame so if you use this as a 29.97 signal your image will actually look stuttery due to the duplicate.
On another note, when you ingest your footage via the camera and the frames are removed look at the clip timecode. The final frame of a second of footage is still ’29’, but it skips 6 counts every second. So it might jump from 23 frames to 25 frames, etc.
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Understanding the concept of 24P and how it used to be used in DVX100 cameras is really the basis of the questions above. If you understand what 24p really is and how that translates to Canon’s use of it in their 24F mode you will be able to determine these settings yourself, not only for this project but all future projects.
Basically, if you’re using FCP you’ll want to choose something like “Easy Setup” HDV 1080P 24F”, but now that is assuming you want to keep working with an HDV sequence which I would recommend, but that’s a different discussion altogether. You may also try out: https://audiovideoproducer.digitalmedianet.com/articles/viewarticle.jsp?id=188809
I haven’t read it, but it seems informative.
Donovan Kosters
Post Production Supervisor and Workflow Development -
Kareem,
Generally speaking an HDV tape shot with a Canon camera must be ingested via the Canon camera, neither Sony or JVC decks play back Canon HDV tapes. Unless this has changed that is how it is.
As for 24F and 30F modes the thing to know about them is that these were modes developed by Canon to automate the ingest of footage of a 23.98 nature. What happens with 24F mode is that you get a 3:2 cadence of sorts similar to a 29.97 signal with 3:2 pulldown… Except in 24F mode, instead of the interlaced frame you get a duplicate frame, this duplicate frame has a metadata flag on it so that FCP knows to remove it. So on ingest, FCP gets 23.98 automatically. On the tape it is 29.97, but FCP is automatically throwing away the frames that don’t need to be there for a 23.98 signal. In older 24p cameras DVX100, etc you used to have to manually remove these frames via a tool like CinemaTools, etc.
The thing with the 24F mode is that, and I may be wrong, but that pseudo ‘pulldown’ frame is a duplicate of the previous or post frame and not a real interlaced pulldown frame so if you use this as a 29.97 signal your image will actually look stuttery due to the duplicate.
On another note, when you ingest your footage via the camera and the frames are removed look at the clip timecode. The final frame of a second of footage is still ’29’, but it skips 6 counts every second. So it might jump from 23 frames to 25 frames, etc.
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Thanks for the response Baz. I have been working with the component inputs as my source for HD from Blu-Ray and I don’t think analog is dirty word. It just would be nice to keep it digital if possible. The problem for professionals and pros about encryption on Blu Ray for the studios is how the encryption works within the HDMI spec. Unlike Macrovision and other similar encryption schemes this not a one time crack as the Blu-Ray spec supports a rolling ‘key’ for the copy protection which can be updated at any time, because of that someone may get it to work once, but wouldn’t be able to repeat the process with another disk.
Thanks again for the great response!
dK
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Thanks Kristian,
I’m aware it’s part of the spec, just curious. Again, thanks for the response.
dK
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That’s pretty funny, though, the same thing has happened to me from time to time. I will be in the middle of something and all of a sudden a song will start playing. I don’t know what it is, but it’s a current pop song of some sort. I have no way to shut it off, but as soon as the song is over it stops. I’m wondering if it plays from my iTunes Library or what the deal is. Is this happening to anyone else?
Donovan Kosters
Post Production Supervisor
Automat Pictures, Inc. -
Yeah, of all the projects we’ve posted in DVCPRO HD this is the first time I’ve ever seen anything like this. I’m kind of at a loss for what to do with it, but continuing to try different things. Thanks for the input.
dK
Donovan Kosters
Post Production Supervisor
Automat Pictures, Inc. -
Hey Evan,
Everything worked great the second time around. Apparently the UB mode was set to “user” instead of FRM RATE. Changing this to the proper setting fixed the problem. Thanks again for all the help.
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Hi Evan,
Thanks a ton for this information. I shot some more footage with the camera and now I’m just waiting on a deck to test it out. I will let you know how it goes. Thanks again!
dK
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Hey Evan, thanks for your help so far. I am running into some issues. I went to a camera house today and shot some test footage in 24pA. When I came back to my office and digitized it, it doesn’t appear to be removing the proper frames with the capture preset. I’ve been reading the manual for both the HDX900 and the AG-1400 deck. Is it possible that the camera wouldn’t record the VITC UB information that the deck needs to know which frames should be flagged? The manual says that in 24pA mode the VITC UB information is automatic, but is it possible that it could have been turned off?
Another test I did was to change the frequency of the deck to 23.98 and play out via HD SDI into my Kona System with a 23.98 setting. This also didn’t yield positive results as it seemed I was still getting duplicate frames. Any help you can offer or step by step instructions would be greatly appreciated. I start shooting this project Nov. 30 and need to have this figured out by then. Thanks again for your time!
dK