Kind of a beginner question...

[chchaisson]

So if I were to shoot something on the EX1, or the Z1U, or the HVX, IN 24p: do I have to remove the pull-down in post in order to work with the footage?

Do all these true-24p cameras encode in 60i (like the HV20) and if so just leave the footage in a 60i format?

Thanks.

[Alan Bradley]

as for myself, i simply drop my ex1 footage into an xdcam ex1 24p timeline in FCP 6. there is no manual pulldown removal. simple as it can be. i 'm almost sure that if you are using the other cams and FCP or vegas then the procedure is just as easy. i used to have vegas 7 and it supported 24p for my canon xh-a1, panny dvx100 and canon xl2. there was no pulldown removal. these higher end programs all have 24p recognition, excluding the cumbersome hv20 minus the pulldown flags debacle. hoped this helped.

[basspig]

24P is 24P on the EX1. There is no pseudo "24P" embedded in a 60i stream as with HDV. The latter of which is nearly impossible to work with in Adobe Premiere because that program does not seem capable of properly extracting the 24 frames out of the 60i stream. But the EX1 footage has perfect cadence on pans and zooms, within a 24P (23.976) project.

[chchaisson]

And this is because of the proprietary SxS cards, correct? If I have editing software which does not support 24p, like Final Cut Express, I'm assuming something bad will happen if I try and edit EX1 footage inside it's timeline.

And to flip it around: If I'm filming on an HDV camera (XL-H1, for example) and I drop the footage into the FCE timeline, will it look as good as if I performed a pulldown removal?

[basspig]

I'm not familiar with FCP, so maybe someone with FCP experience will chime in, but the universal requirement is that the editor's frame rate match the camera frame rate. Further complicated is extracting 24P from 60i-based 24P. Now if your editor only handles 60i, placing 24P footage on it may result in distortions in both time (including improper or no sound playback) and interlacing of non-interlaced footage. However, the XDCam can shoot HDV-compatible modes and those can be captured via FireWire as HDV, but you will be limited to 60i and 24P (embedded in 60i) at max resolution of 1440h.

That said, I am mixing XDCam 30P footage on a 30P HDV timeline with two HVR-V1Us and a HV20 in Adobe Premiere Pro CS3 and everything seems happy. YMMV.

[Barry_Green]

HVX 720/24pN has no pulldown, it's straight 24P to the cards.

HVX 1080/24pA has 2:3:3:2 pulldown, which most every NLE understands how to strip out on the fly and produce a pure 24P sequence (I doubt FCE can do it though). HVX 1080/24P has 3:2 pulldown which would need to be removed.

Z1U doesn't have 24p at all. It has a pseudo-fakey interlaced simulation of 24p, where it blends fields together to try to simulate 24p. And in that simulation, 3:2 pulldown is recorded as well so its fake 24p is embedded in 60i.

EX1 1080/24P in 35mbps mode is straight 24p, no 60i and no pulldown. EX1 1080/24p in 25mbps mode is 3:2 pulldown embedded in 60i. EX1 720/24p is straight 24p.

[chchaisson]

Z1U doesn't have 24p at all.

Yeah, I meant the V1U, not the Z1U. So if you have an HDV camera recording 24p TO TAPE, is it necessary to have an NLE which supports 24p?

Does anyone know about the Sony V1U's 24p mode? Is it recorded in a 60i stream?

[myCharlie]

EX1 1080/24P in 35mbps mode is straight 24p, no 60i and no pulldown. EX1 1080/24p in 25mbps mode is 3:2 pulldown embedded in 60i. EX1 720/24p is straight 24p.

So in Avid I have to do a 3:2 pull down on the project to get 24P, correct?