24P and 24PA captured on same tape?

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dvInsight

Well-known member
I just got one of the those phone calls. A friend just got back from shooting a doc in texas on a DVX100a. For reasons known only to the DP he chnaged from shooting 24P to PA throughout the shoot. NO LOGS were kept. Arghhhhh! They shot 40 hours going back and forth. Ouch

So my friend comes back to LA happily rents a Sony DSR-11 deck (which I personally find to be problamatic) and instantly runs into import hell. She has no idea scene was shot which way. When she uses the easy setup Normal NTSC 29.97 she can capture sometimes. Some stuff comes in and looks OK which means it is 24P, the other stuff strobes and stutters, so that is PA.

So is there a simple solution? I told her that she will probably have to manually watch all 40 hours and log the P from the PA. The crying didn't help. Then I told her she would have a couple of options depending on if she had more of one VS the other. I referred her to some of Graeme Nattrass' solutions.

Any other ideas to resolve this more easily?

Thanks,

Rob
 
you are going to have an editing nightmare too..... 24 or 30 frame timeline?

Other than watching all the footage, i dont know any other way to fix it. But what is wrong with watching all the footage? for 60 years filmmakers have watched dailies of the footage they shot.
 
Thanks for the input.

Everything is being done in FCP 5.04. Today I pretty much told her that she should just import everthing that she needed into a regular NTSC 29.97 project and label all the funky looking PA stuff with a PA in the front of it. That way she can drop all of that into a 24p sequence and then remove the pull down from there. Then she can export that to tape or a file and reimport it via tape (losing quality) or use a Natress plugin.

She is no longer crying and is starting to learn. Unfortunately, it's the hard way.

Thanks, and if there are any other ideas I'd still love to hear them.

Thanks,

Rob
 
Well . . .

If you mix 24pA and 24p on a 29.97 timeline, export, and then use something like Cinema Tools to do a reverse telecine on the resultant 29.97 file, I think the 24pA parts are going to look *awful* after the reverse telecine.
 
do you have 24p/a AND 60i footage, or all 24p, some standard some advanced?

i was under the impression that on a 24p timeline, it didn't matter if it was advanced or not as long as it was all shot 24p.... am i wrong in my thinking?
 
At one point I had a tape that had 15 seconds of 24p footage, and the rest of the tape was 24pa. I accidentally captured the whole tape, and FCP would NOT remove pulldown on it at all. I had to make sure I didn't capture that 24p stuff in the same file as my 24pa.
So to me, this *could* mean that if you capture it all into fcp, you should be able to remove pulldown on all that you think is 24pa, and then reverse it back to 24p footage. This way you can edit the whole thing "beautifully" in a 29.97 timeline.
I can't imagine how contorted your workflow would get editing it and then trying to correct pieces of it afterwards. Solve the problem, then move forward.

And you probably should double check the first part of this as well - as I said it was my experience once, there could be something bigger that points to if final cut will/won't remove advanced pulldown.

Spencer Berry
 
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