Seperating 60i from 24pa in a 24p timeline.

[GageFX]

I was shooting tests monday and I started out 24pa, switched to 60i (for 1/120 slo-mo tests) then back to 24pa.

So I captured (like I have all my other 24pa footage) and I drag the clip up to the timeline (I capture 1tape/1file) and I was to isolate the 60i for eventual slo-mo. How do I do this?

AND... in the 24p timeline, the 60i footage is whack. I assuem that's normal for the situation, but do I have to recapture for the 60i?

Coonnnnfussion!

-GageFX

 

[jgastelb]

I was shooting tests monday and I started out 24pa, switched to 60i (for 1/120 slo-mo tests) then back to 24pa.

So I captured (like I have all my other 24pa footage) and I drag the clip up to the timeline (I capture 1tape/1file) and I was to isolate the 60i for eventual slo-mo. How do I do this?

AND... in the 24p timeline, the 60i footage is whack. I assuem that's normal for the situation, but do I have to recapture for the 60i?

Coonnnnfussion!

-GageFX

I second this concern. I was doing the same thing for some footage and used the 60i for slowing down but kept the 24pa for the smooth real time clips. When I mixed them in the time line (project properties -- 23.976) the 60i is simply overlapping unless it is slowed down. What if you wanted to use 60i without slowing down and mixed with 24pa. I have heard a lot of people say that you really don't need a 24p camera since Vegas does the conversion for you. But I always seem to notice a difference between real 24p and 60i converted to 24p. Maybe we need to edit 60i separately then import into 24p timeline to be mixed with the 24p footage? Anyone here knows the answer???


Jgastelb

 

[Ming]

I second this concern. I was doing the same thing for some footage and used the 60i for slowing down but kept the 24pa for the smooth real time clips. When I mixed them in the time line (project properties -- 23.976) the 60i is simply overlapping unless it is slowed down. What if you wanted to use 60i without slowing down and mixed with 24pa. I have heard a lot of people say that you really don't need a 24p camera since Vegas does the conversion for you. But I always seem to notice a difference between real 24p and 60i converted to 24p. Maybe we need to edit 60i separately then import into 24p timeline to be mixed with the 24p footage? Anyone here knows the answer???


[FONT=Verdana,arial]oops nevermind- just realized this was the Vegas forum. You'll need a software conversion of the 60i though if you're wanting to edit the footage in a 24p timeline.
[/FONT]

 

[David Jimerson]

[[FONT=Verdana,arial]You'll need a software conversion of the 60i though if you're wanting to edit the footage in a 24p timeline.
[/FONT]

No, you don't. You CAN do a conversion to 24p, but you don't have to. In older versions of Vegas, such as V4, it was advisable to do so, but that's much, much less of a concern with Vegas 6, and Vegas 5, to a lesser extent. In Vegas, you can pretty much edit anything on any timeline with no prior coversions necessary.

To answer the first question in the thread, you should be able to look at the clip properties in your Media Pool and determine which are 60i (DV, 29.97) and which are 24p (stating which kind of pulldown is removed). Then, you can slow the 60i clips to 40% for slomo.

There were issues in the past with switching framerates on the same tape and then capturing them all at once, but I haven't had problems with that with recent versions of Vegas. Still, I tend to shoot only one framerate per tape, or at least I capture them separately. (Well, actually, I generally only shoot one framerate, period.) I reiterate, though, that it generally shouldn't be a problem just to capture the tape.

Yes, there will always be a difference between native 24p and 60i converted to 24p. The conversion process will cost up to half of the vertical resolution. Also, when you're shooting 60i with the intention of converting to 24p, you have to handle the camera as if you're shooting 24p, and sometimes that's not easy to do if you don't have a visual cue telling you that you're panning too quickly, etc.. Many people accustomed to shooting 60i have problems when they go to shoot 24p, or shoot 60i like they've always shot it and then convert to 24p. The motion characteristics of the two are quite different, and the differences need to be learned and respected. (And if 24p is what you're after, use a 24p camera.)