Does Premiere Pro CS5 and AVCHD question

[Filmkid2003]

I have a GH13 and I plan on getting Premiere Pro CS5 to edit with in the near future. My question is, will I be able to take my 1080p wrapped inside 60i footage and just drop it into the AVCHD preset timeline without having to transcode (like with Neoscene) or anything and just start editing? Does Premiere Pro CS5 take care of the deinterlacing also? Thanks.

 

[ATL Media Group]

Yes. Just pick an AVCHD 1920 24P sequence and drop the footy in. The line will be red but when you render it it'll be true progressive with pulldown applied.

 

[deltoidjohn]

Being from PAL land, I'm clueless about how to work with 24p in a 60i wrapper - but may have to for upcoming collaborative purposes.

Is it possible to drop 24p (in a 60i wrapper) onto a 60i timeline, mix it with 60i footage and just edit and render it like that? I know it will look different to the 60i stuff, but does the 24p with pulldown work this way or does it only playback properly once you've removed the pulldown?

Am I mistaken to think that the 24p footage in 60i stream was designed to work seamlessly with 60i workflows? If so, what would be the effect of attempting this? Would I get wierd effects like reversed fields/blended frames/stuttering etc?

I ask this because I'll be shooting some footage later in the year which I'll be giving to NTSC clients and also using for my own purposes (25p). I was thinking of shooting 24p, as it's easy enough for me to convert that back to 25p, but I'm not sure if I should use pulldown or not as most of the clients will be editing on a 60i timeline.

 

[Barry_Green]

Is it possible to drop 24p (in a 60i wrapper) onto a 60i timeline, mix it with 60i footage and just edit and render it like that? I know it will look different to the 60i stuff, but does the 24p with pulldown work this way

Yes, that's exactly how it works. Remember that for decades we didn't have native 24p footage or native 24p timelines, everything shot for TV was telecine'd with 3:2 pulldown and edited on 60i timelines.

Am I mistaken to think that the 24p footage in 60i stream was designed to work seamlessly with 60i workflows?

No, you are 100% correct in that assumption.

If so, what would be the effect of attempting this? Would I get wierd effects like reversed fields/blended frames/stuttering etc?

Well... the only real "problem" that you could run into is if you wanted to later strip out the pulldown. In the old days we used to edit 24p-within-60i on a 60i timeline and then you'd "matchback" to conform the edit to match film; if you "broke the cadence" anywhere it'd make it difficult to match back to the original film, you could easily end up a frame off sync somewhere. But if it's an all-digital edit with no intention of ever going back to a film print or film negative, there's not really anywhere that you're going to get into trouble.

Native 24p is much preferable for a 24p edit and distribution, but if your distribution is going to be 60i, just shoot 24p-within-60i and edit it all on a 60i timeline.

I ask this because I'll be shooting some footage later in the year which I'll be giving to NTSC clients and also using for my own purposes (25p). I was thinking of shooting 24p, as it's easy enough for me to convert that back to 25p, but I'm not sure if I should use pulldown or not as most of the clients will be editing on a 60i timeline.

24p can be converted to 24p-within-60i effortlessly. And, depending on the NLE they're using, 24p-within-60i can have the pulldown removed so that it reverts to 24p easily or even effortlessly. So with that said, I would always shoot 24p native unless and only if the client has specifically requested a 60i wrapper.

 

[deltoidjohn]

Thanks Barry.

The reason I'd prefer to shoot with the 60i wrapper is that I'll be taking my hacked GH1 (PAL to NTSC) to Hawaii with me and want to shoot surfing footage. I'd like to be able to play back the footage in camera, and there also seem to be more issues with the native 24p hack (like the freezing on high details static scenes).