24p P2 + 30p HDV

J

JWinter

Well-known member
Hey Guys

on a certain project we ended up with 24pn P2 + 30p canon HDV


we typically edit in and output 30p and it would have been ideal to get both formats in 30p


what is the best way to handle the 24p in this (accidental) workflow?
 
Last edited:
Do it as 60i or 60p. You can't convert 24p or 30p into each other with good result. But both do fine in a 60 fps stream.

Your file is 24pN -- it's 23.976.
 
so you think

Timebase: 59.94fps

Video Settings
Frame size: 960h 720v (1.3333)
Frame rate: 59.94 frames/second
Pixel Aspect Ratio: HD Anamorphic 1080 (1.333)
Fields: No Fields (Progressive Scan)

would be OK?

or maybe

Timebase: 59.94fps

Video Settings
Frame size: 1440h 1080v (1.3333)
Frame rate: 59.94 frames/second
Pixel Aspect Ratio: HD Anamorphic 1080 (1.333)
Fields: No Fields (Progressive Scan)
 
and the - i - in "1080 60i" is because of the 24p?

because I will have a fair amount of screen capture .mov clips in this session as well

so 1080 60p is different?
 
DJDecay said:
I had a bunch of tapes from a Canon HDV24PF Camera, Canon HV30 @ 60i, and P2 @ 1080_24PA land in my lap to edit.
Click to expand...


I'm actually in that same situation now. I've taken over a project from another editor...I have 11 HDV tapes, no idea what kind of camera they were recorded on, and only about half of them are captured. They're captured at 1080/24p...I'm not sure what the codec is, I don't have access to the files at the moment...

We're reshooting some of the interviews on my HVX, and I was planning on shooting at 1080/24pA, and I'll be combining that with the HDV footage in FCP 6.0.

My question is...Since I have to capture some of the tapes anyway, should I just recapture all of them under the ProRes422 codec? Or can I easily convert the clips already captured to ProRes? I'm just trying to find the best way to get all of the video onto an FCP timeline with minimal fuss.

Thanks!!
 
DJDecay said:
I ended up in a similar situation at one point, I don't know If I whined about it on this board. I think I did.

I had a bunch of tapes from a Canon HDV24PF Camera, Canon HV30 @ 60i, and P2 @ 1080_24PA land in my lap to edit.

This is what I did - I spoke to the Director and asked what he preferred the final deliver format to be in.

Then used compressor to convert the 60i clips into ProRes422 @ 23.976 (at a lesser quality setting for speed).

This allowed me to use the 23.976 timebase to edit the project,
then I went back and re-converted _ONLY_ the 60i clips that made it into the final edit again, only at the best-est most CPU intense setting there was (took over 3 days to compute) and re-linked them in the project/sequence.

In your situation you need to have 30P output, if you could live with 24P then loosing some frames out of the 30P via Compressor would be your best bet.
Past that, you can re-time both as someone said into 60i - as both 23.976 and 30.00 will function inside of 60P or 60i as you introduce pull-down/frame repeating to both sources.
Some cameras even film 30P at 60P just doubling the frames.

As for the Sequence Settings, I highly advise not using Apple's HDV Codec but capturing the HDV tapes into ProRes 422 instead. Yes they'll still stay at the 1440x1080 aspect unless you re-code into square pixel aspect ratio but they are way easier to mix-match in a sequence.

The most important thing is the EDIT TIMEBASE in FCP (24fps vs. 30fps) not the codec used in the timeline. Also Panasonic can record 30P (actually 60P) with a 24PsF scene file setting,
there is no major discernible difference between 24P and 30P. - So another option would be to take the 24P DVCPRO and Filp it into 30P DVCPRO (which is essentially 60P).
Click to expand...

thanks much....this is not over yet...i will post updates (any other tips very welcome)
 
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