24p or 24pa for straight to dvd?

[Stu Siegal]

OK, I've been following the interlace thread, think I've got it straight, but never actually dealt with this workflow before, so looking for a reality check.

I'm shooting a project that will go straight to dvd. For best results, I should shoot 24pa, edit in a 23.976 timeline, then export a qt to sorenson for encoding. No special settings in sorenson required.

Cutting w/xpro w/no mojo, coming in with my dsr-11. Without mojo, I will not be able to output the project to tape. XPRO HD will eventually solve this. In the meanwhile, if I need to do a dig cut, I will need to convert to 29.97 by exporting a qt ref of my 23.976 timeline, import to ae, then convert to 29.97, bring back into xpro in a new 30i project.

Right?

Thanks,

Stu

[MichaelP]

Basically you're all set. I do tweak my Sorenson settings a bit though. Please see settings on my site:

http://www.24p.com/24pMPEG.htm

[Stu Siegal]

Thanks again Michael

[LAfilmaker]

Hi Michael...will that workflow described above produce the "jitter" frame on the final DVD?

[MichaelP]

Not if you you shooting 24pA or 30p.

Michael

[MichaelP]

Perhaps proper English would have phrased it:

Not if you are shooting 24pA or 30p.

;)

[LAfilmaker]

great...i think im getting it now :)

[TotalX]

Hey Mike:

So, basically you are saying that Sorenson or CCE will convert the 23.976 project with the 2:3 flags so that I can author it in DVDSP 3.0? (DVDSP only accepts NTSC projects).

Also, does the progressive DVD play better than the non one?

[MichaelP]

The 24p MPEG2 is still NTSC so it should work. The MPEG2 stream contains flags from the encode telling the DVD player that it needs to insert a field to create 2:3 polldown while playing. WHen stepping through, you are seeing the full frames.

A progressive DVD player will do nothing for you unless you are using a progressive monitor. The other arguement for progressive encoding is when viewing DVD on a laptop/computer, the screens are progressive so you get a better picture rather than frame blending etc.

By working in 24p you allow the encode to have a continous 2:3 encode and flagging allowing progressive monitors and projectors to detect the cadence and remove it creating a progressive experience all the way to screen.

Michael