[Jeremy Garchow]

No problem, glad it’s working.

Jeremy

[Jeremy Garchow]

Did you shoot in 24p Normal or 24p advanced? Which easy setup did you use in FCP? This will determine how it was digitized.

If you are in fact editing at 24p, you should set your AE comp at 23.98 and then it should pop in to FCP with no rendering, but that doesn’t sound like what is going on.

It sounds like you shot 24p Normal, which is 24p footage with a 3:2 pulldown, as opposed to 24pAdvanced which has a different pulldown cadence. When you capture footage shot at 24pNormal, you are capturing at 29.97 and you should also edit at 29.97. The problem comes in when you try and reinterlace this footage when rendering out of AE, you are introducing interlace to some of the fields that are progressive (this is where it starts to get messy). So, you can try and remove the pulldown in AE and set your comp to 23.98, and then render that footage with a pulldown to get you back to 29.97…or…You can send the footage out to cinema tools, remove the pulldown leaving you with 23.98 media. You can then composite in AE at 23.98, and render out at 23.98 and then edit in FCP at 23.98…or…you can remove pulldown in cinema tools, comp in AE at 23.98 and render out of AE with a 3:2 pulldown to get you to 29.97 and then edit in FCP at 29.97.

Also, if your footage is rendered out of Ae at 23.98 then you can make a 24p DVD. Don’t worry, the DVD player will add the pulldown so people can watch it on a regular NTSC tv. Adding pulldown is part of the DVD spec. It makes it easier for Hollywood to cram more material on a DVD as 240p media is smaller than 29.97.

There’s a mighty big workflow to learn with 24p and you have to figure out which is best for you.

If in fact you did shoot in 24p Advanced, then I would suggest recapturing your footage and remove the advanced pulldown on capture (this is only available when you shot 24p advanced) using the 24p Advanced pulldown removal easy set up in FCP. That way you are editing in 23.98, then compositing and rendering out in AE at 23.98, and then editing again in FCP at 23.98 and then making a 24p DVD.

Make sense?

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 5.02 <> Kona 2
ATTO 42XS <> Huge Systems 4105 Fibre

[Jeremy Garchow]

Cool, thanks Guy. Do you find shooting progressive causes more work in post? Are you blurring the whole timeline, or is it only in certain situations in certain shooting conditions? I will do testing as soon as the camera and deck are in the shop at the same time. I am looking for real world experience at this point.

We got the Goodman’s guide and I quickly scanned it over, but it didn’t really explain this in as much detail as I’m looking for.

Thanks again for the post.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 5.02 <> Kona 2
ATTO 42XS <> Huge Systems 4105 Fibre

[Jeremy Garchow]

Thanks for the response, Graeme. For the most part, our work is shown on Tvs and perhaps laptops via DVD coming in second. What’s the best way to shoot then since it’s a mix of interlaced displays and progressive? Sometimes for certain projects, our work is projected at large venues off of video, not film. Sounds like, for now, we will get the best results of we stick to interlaced.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 5.02 <> Kona 2
ATTO 42XS <> Huge Systems 4105 Fibre

[Jeremy Garchow]

Thanks for the info. I am totally aware of the difference between 24pN and 24pA and what that means to the edit, and thanks for pointing out that clarification. What confuses me is the difference between 24p interlace and 24p progressive. We all know what the p in 24p means, so what does the p in 24p mean when the camera is set to interlace?

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 5.02 <> Kona 2
ATTO 42XS <> Huge Systems 4105 Fibre

[Jeremy Garchow]

I’m not sure if this is true with the HVX, but when you use the frame rate converter plug in to convert the footage from a varicam, you lose the audio. Don’t know if the HVX will behave in the same way.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 5.02 <> Kona 2
ATTO 42XS <> Huge Systems 4105 Fibre

[Jeremy Garchow]

Hate to be the bearer of bad news, but FCP 4.5 does not run on the new dual core macs. FCP 4.5 requires an AGP Graphics card, and the new macs have a PCIe graphics card. You must upgrade to fcp 5. There’s been rumors of a hack, but I wouldn’t recommend it. You can search this forum for it, but i think the hack is explained at xlr8yourmac.com

https://docs.info.apple.com/article.html?artnum=302667

Good luck in your choices.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 5.02 <> Kona 2
ATTO 42XS <> Huge Systems 4105 Fibre

[Jeremy Garchow]

[Gunleik Groven] “You may very well NOT have a working QT-Pro number, as this is automatically inserted/generated when you register FCP (during instal”

This is true with FCP5 and quicktime 7, but with FCP3 and QT6 you have to manually enter the number. Open quicktime and then open the preferences. I think it’s under the registration button.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 5.02 <> Kona 2
ATTO 42XS <> Huge Systems 4105 Fibre

[Jeremy Garchow]

You must re-enter your quicktime pro number.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 5.02 <> Kona 2
ATTO 42XS <> Huge Systems 4105 Fibre

[Jeremy Garchow]

[Chris Poisson] “Just how do you remove cookies?”

That’s simple.

Go to the cookie jar, and eat everything in site. Of course that might cause you to toss those cookies, and we don’t want that.

What browser are you using, Safari?

Go to Safari>preferences menu and then hit the security icon. There’s a button there that says show cookies. You can then choose to delete them one at a time, or remove them all. That way, Safari is tossing it’s cookies and not you.

If you’re not using Safari, you can find the cookie tosser in and around your browser’s preferences. Good luck.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 5.02 <> Kona 2
ATTO 42XS <> Huge Systems 4105 Fibre