24p or 24pA?

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xnick11

Member
I shoot a lot of different sports, and I don't really feel the whole digital look anymore. What is better to use for slow motion, 24p or 24pA? Which progressive mode do I have to use the pulldown in FCP for also? If anyone has links on this please post it. Thanks
 
I believe the standard answer is something like this:

If you're going to be editing and delivering in native 24-fps format, use 24pA.

If you're going to be editing and delivering in standard 60i but still want the 24-fps look, use 24p.
 
Almost, but not quite.

Delivery is irrelevant. It's about how you're going to edit, and nothing else.

If you're going to edit in 24p, shoot 24pA.

If you're going to edit in 29.97, shoot 24p.

But for SLOW MOTION, it's better to shoot 60i. Then, you'd slow it down to 40% speed on a 24p timeline.
 
David Jimerson said:
Almost, but not quite.

Delivery is irrelevant. It's about how you're going to edit, and nothing else.

If you're going to edit in 24p, shoot 24pA.

If you're going to edit in 29.97, shoot 24p.

But for SLOW MOTION, it's better to shoot 60i. Then, you'd slow it down to 40% speed on a 24p timeline.
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I would love to shoot 60i for just slow motion, but I might slow mo that clip once, then then use it at regular speed again in another video or something. I would rather just straight shoot one progressive mode and edit to the song, slow mo or speed up any clip as I feel like it. I don't want to have specific clips that are only made for slow motion.

Do you know what I mean?
 
Well, if you don't want to plan ahead, you're either going to have shoot all 60i and deal with the resolution loss when you convert most of it to 24p for regular-speed footage, or shoot all 24p and deal with the choppy motion when you try to slow it down.

Or, you could shoot 30p and get the worst of both worlds in this regard. :)

Better to plan ahead. Every step of the way will be much nicer if you do.
 
David Jimerson said:
Well, if you don't want to plan ahead, you're either going to have shoot all 60i and deal with the resolution loss when you convert most of it to 24p for regular-speed footage, or shoot all 24p and deal with the choppy motion when you try to slow it down.

Or, you could shoot 30p and get the worst of both worlds in this regard. :)

Better to plan ahead. Every step of the way will be much nicer if you do.
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Hmmm thanks. Well if I decide to mix footage what kind of time line would I need to edit in for 60i/24p?
 
If you're planning to use the 60i for slo-mo only, then you'd cut in a 24p timeline and slow the footage to 40%. This is what I would assume you'd want.

But if you're planning to keep any of the 60i at full speed because you like the 60i look of it, you'd want to edit on a 29.97 timeline. But then, shoot 24p standard.
 
So am I correct when saying if I shoot in 24PA on the dvx100B and Capture into FCP using the 2:3:3:2 pulldown; Editing on a 24p (23.98) timeline... I will get the clearest most rockin' results? And when I desire a slow motion element in this 24p timeline...I should plan ahead and shoot that element in 60i and slow it down 40 or 50% in the 24p timeline... When i capture the 60i footage, how should I capture that footage? with the 2:3:3:2 pulldown? or? I'm trying to define all the steps so that I'm not spinning with confusion anymore...
 
If you're shooting in progressive (with the exception of 60p), you won't be able to do any sort of slow motion. David is right: shoot in 60i and use software conversion for 24p. I personally like Nattress (www.nattress.com) or DVFilm Maker (www.dvfilm.com) for Mac, DVFilm Maker or Magic Bullet (www.redgiantsoftware.com) for Windows.

It's a safe bet to shoot everything in 60i when doing sports, so you're open to your slow motion options. 30p is especially tough to do any conversions with.

David
 
David Jimerson said:
Almost, but not quite.

Delivery is irrelevant. It's about how you're going to edit, and nothing else.

If you're going to edit in 24p, shoot 24pA.

If you're going to edit in 29.97, shoot 24p.







could u expand as to why this is done and also the basic diiferece between 24p and 24pA
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I've seen most filmmakers choose 24p because their final delivery is DVD and the web, and though you can go native 24p on both, they choose to edit and deliver in 60i. Also, I've seen a lot of disasters with editors trying to remove the pulldown and doing it wrong. The resulting footage is impossible to watch, and distracts from the story.

David
 
dwells said:
I've seen most filmmakers choose 24p because their final delivery is DVD and the web, and though you can go native 24p on both, they choose to edit and deliver in 60i. Also, I've seen a lot of disasters with editors trying to remove the pulldown and doing it wrong. The resulting footage is impossible to watch, and distracts from the story.
Click to expand...

Where are these filmmakers? I think you'll find that's not acutally the case. Most filmmakers shoot 24pA and edit as 24p. Delivering as 60i for anything but broadcast doesn't make sense.

If you shoot 24pA, it's easy to remove pulldown automatically with any non-consumer NLE; it's not really something that can be messed up (though it's easier to get the wrong setting with FCP than with the others).

Now, if you shoot 24p standard, it can be complicated in some NLEs, but for most of them, it's just as automatic.

Editing in 24p is the way to go; it's the native timebase of the footage, and you still have all output options available to you (including 60i).
 
if u shoot and edit sumthing in 24p that will be showing on tv(broadcast) with it affect the footage quailty?
 
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