dvx 24p capture issue

N

nick.anderson

New member
Ive got a project for school to do and im having some issues capturing footage from my dvx100b into fcp.

I shot it in just normal 24p basic and in squeeze mode, ive done plenty of searching about what to use for my capture settings but no matter what i try i cant get it to work correctly. it wont show up in my capture bin or fcp will just crash on me.

any suggestions on what to do? i need to get this figured out ASAP and ill take any advice i can get. thanks in advance!
 
dvx fcp 24p normal capture

dvx fcp 24p normal capture

The DVX100 captures 24p Normal as 24 frames inside a 29.97fps video stream on the tape.

Follow these steps to convert the 24p normal (captured at 29.97fps) to 24p (23.976) with the additional pulldown frames removed:


  1. Set FCP to the Easy Setup for DV-NTSC 29.97fps with 48Khz 16-bit audio.
  2. In Compressor, choose Add File and navigate to the capture scratch folder for the clips you captured and open them all.
  3. Select the first clip in the batch.
  4. Choose the setting named "Apple ProRes 422 for Progressive material" (found in Settings tab > Apple > Other Workflows > Advanced Format Conversions > Apple Codecs), and drag it onto the first clip.
  5. Double-click the setting on the first clip to highlight the Inspector window.
  6. In Inspector > Encoder Settings > Video Settings, change the framerate to Custom, and enter 23.976.
  7. In Inspector > Frame Controls, enable Frame Controls and make the following settings:
    1. Set Frame Controls to On
    2. Set Deinterlace to Reverse Telecine
  8. Click Save As to save this setting with a name such as "DVX 24p normal to ProRes 24p".
  9. Add this new Custom setting to all your clips and submit the batch.
The resulting clips will be 24p and can be edited in a 24p sequence in Final Cut Pro with the ProRes 422 24p Easy Setup with no interlacing or cadence issues (this is slightly modified from the Apple Support website and the Canon HV20 workflow: http://support.apple.com/kb/HT2410). The drawback in FCP 6 is the ProRes files will be much larger than the original standard def QuickTime files captured from the DVX. If you have FCP 7, you can choose a lower quality ProRes 422 LT, which will make files smaller than ProRes 422, but still of sufficient quality compared to the original SD files from the DVX.


Hope this helps.
 
add to step 1 above

add to step 1 above

After step 1 in the post above (set Easy Setup to DV-NTSC, 29.97fps, 48Khz 16-bit stereo), I forgot to add: Then capture the footage to your computer's scratch disk (then go to step 2)
 
nick.anderson said:
Ive got a project for school to do and im having some issues capturing footage from my dvx100b into fcp.

I shot it in just normal 24p basic and in squeeze mode, ive done plenty of searching about what to use for my capture settings but no matter what i try i cant get it to work correctly. it wont show up in my capture bin or fcp will just crash on me.

any suggestions on what to do? i need to get this figured out ASAP and ill take any advice i can get. thanks in advance!
Click to expand...

Just capture and edit at 29.97 using your basic DV setting, in anamorphic of course.

If you are wanting to edit in 24p (23.976), you really need to shoot in 24pA. While regular 24p can be converted, it is really a format that is intended to be edited at 29.97. That means setting your FCP project to the standard DV NTSC 48kHz and staying with that.

The drawback to removing the 2:3 cadence of 24p is that one out of every four frames of the resulting 23.976 footage has to be recompressed from interlaced pieces of two frames in the source footage.

24pA has a 2:3:3:2 cadence that allows restoration of the 23.976 footage without recompressing any frames.

Here's a great LINK that'll explain in more detail.

And rather than converting to ProRes and working with much larger files, if you really must work with this as 24p, you can use CinemaTools to reverse-telecine your 24p footage and stay in the DV realm.
 
Basically after reading several posts this is my understanding on 24p / 24pA for FCP (correct me if I'm wrong, please)

If you shoot in 24p and want to return to broadcast standards, you should edit in 29.97. So you should capture DV NTSC for both capture and sequence settings.

If you shoot in 24p and want to keep it as video, for web etc, you should edit in 23.976 by using the 3:2 pulldown. In this case, you would have to convert according to what r1108 said above.

If you shoot in 24pA you capture DV NTSC Advanced 2:3:3:2, and edit in 23.976. The advantage to this is that you don't have to convert to Prores (or other codecs) and it doesn't recompress any frames. It's basically good to go after capture.

I have a couple of questions:

So if you edit 24p footage in a 29.97 timeline will it looked interlaced when editing/ if exported for web? Really the only reason to shoot 24p is if you want to go back to broadcast standards, correct? Also, when editing 24p footage in 29.97 there is no pulldown removed, right? The pulldown is only removed if you want to edit in 23.976? 24pA seems like the way to go as far as video for web.

I think the reason I was confused was because when I used vegas, I would capture my 24p footage and just drop it into a 23.976 timeline. Pulldown was removed automagically I assume? FCP differs in that you can't do that, you have to convert to something like Prores if you want to edit 24p footage in 23.976.
 
Last edited:
pfista said:
FCP differs in that you can't do that, you have to convert to something like Prores if you want to edit 24p footage in 23.976.
Click to expand...

Since when does footage need to be converted to ProRes in order to edit at 23.976?

No, FCP does not automatically remove pull-down like Vegas or Premiere do, but it can be done easily and without leaving DV. For 24pA, set capture to DV NTSC 48kHz with Advanced (2:3:3:2) pull-down removal. For 24p, capture as DV NTSC 29.97 and then manually reverse-telecine either within FCP or using CinemaTools.
 
C2V said:
Since when does footage need to be converted to ProRes in order to edit at 23.976? I've been working with 24pA footage in FCP in the DV codec without any problems.

No, FCP does not automatically remove pull-down like Vegas or Premiere do, but it can be done easily and without leaving DV. For 24pA, set capture to DV NTSC 48kHz with Advanced (2:3:3:2) pull-down removal. For 24p, capture as DV NTSC 29.97 and then manually reverse-telecine either within FCP or using CinemaTools.
Click to expand...

Well, not necessarily ProRes, but 24p does have to be converted before you can begin editing in 23.976.
 
> if you edit 24p footage in a 29.97 timeline will it looked interlaced
> when editing/ if exported for web?

Yes, unless you drop every other field, losing half of vertical resolution, which is not very high to begin with.

> Really the only reason to shoot 24p is if you want to go back to broadcast standards, correct?

You edit in interlaced timeline if you don't bother about editing it properly in 24p or if your NLE does not support 24p. Most modern TVs and DVD players will be able to recover 24p from such footage, but if you have frequent cuts then beware, because it may take up to a second for a player to lock on the cadence, which will most likely be broken at each cut. What I am saying is that you may see combing at cut points.

> Also, when editing 24p footage in 29.97 there is no pulldown removed, right?

Right. It is treated as regular interlaced.

> The pulldown is only removed if you want to edit in 23.976? 24pA seems
> like the way to go as far as video for web.

24pA is the way to go if you want to edit in 24p and your NLE can properly remove pulldown from 24pA.

> I think the reason I was confused was because when I used vegas, I would capture
> my 24p footage and just drop it into a 23.976 timeline. Pulldown was removed
> automagically I assume?

Regular 24p? I don't know. Vegas does have an option to remove pulldown from 24p-in-60i for DV, but I never used it, I have a Sony HDV cam and used some Canon AVCHD cams. Vegas does automagically remove pulldown from Sony's 24A video, but it is a slightly different beast.
 
pfista said:
Well, not necessarily ProRes, but 24p does have to be converted before you can begin editing in 23.976.
Click to expand...

It has to have the pull-down removed... no conversion applied. The drawback with removing the pull-down from 24p is that the C frame has to be reassembled from fields of two other frames in the source footage, and at least in older systems that meant re-compressing the C frame in the DV codec which took a tole on the quality. But it has been a long time since I've bothered with regular 24p, mostly for that reason, because 24pA is really the best option for editing at 23.976. My understanding is that the re-compression is no longer an issue... but if your system can handle 24pA, shoot 24pA.

Pull-down can always be added in later for broadcast if needed.
 
Cranky said:
Regular 24p? I don't know. Vegas does have an option to remove pulldown from 24p-in-60i for DV, but I never used it, I have a Sony HDV cam and used some Canon AVCHD cams. Vegas does automagically remove pulldown from Sony's 24A video, but it is a slightly different beast.
Click to expand...

Yes, it was regular 24p. I would capture through vegas (the file were .avi) and then just drop those in a 23.976 timeline, I never had to worry about any settings, it just worked.
 
C2V said:
It has to have the pull-down removed... no conversion applied. The drawback with removing the pull-down from 24p is that the C frame has to be reassembled from fields of two other frames in the source footage, and at least in older systems that meant re-compressing the C frame in the DV codec which took a tole on the quality. But it has been a long time since I've bothered with regular 24p, mostly for that reason, because 24pA is really the best option for editing at 23.976. My understanding is that the re-compression is no longer an issue... but if your system can handle 24pA, shoot 24pA.

Pull-down can always be added in later for broadcast if needed.
Click to expand...

Alright, so no 'conversion', but it still has to be rendered? Which takes longer than the 24pA method.
 
pfista said:
Alright, so no 'conversion', but it still has to be rendered? Which takes longer than the 24pA method.
Click to expand...

If the pull-down is removed properly, it should not have to be rendered to use it in a 23.976 timeline. If there's any re-compression done in removing the 3:2 pull-down, it is done as part of the reverse telecine process. But the whole point has been, all along, that it's really not a decision one has to make: 24pA is the most effective way to go if one plans to edit at 23.976. 24p was created for folks who want the 24p "look" but want to edit/can only edit at 29.97.
 
r1108 said:
The DVX100 captures 24p Normal as 24 frames inside a 29.97fps video stream on the tape.

Follow these steps to convert the 24p normal (captured at 29.97fps) to 24p (23.976) with the additional pulldown frames removed:


  1. Set FCP to the Easy Setup for DV-NTSC 29.97fps with 48Khz 16-bit audio.
  2. In Compressor, choose Add File and navigate to the capture scratch folder for the clips you captured and open them all.
  3. Select the first clip in the batch.
  4. Choose the setting named "Apple ProRes 422 for Progressive material" (found in Settings tab > Apple > Other Workflows > Advanced Format Conversions > Apple Codecs), and drag it onto the first clip.
  5. Double-click the setting on the first clip to highlight the Inspector window.
  6. In Inspector > Encoder Settings > Video Settings, change the framerate to Custom, and enter 23.976.
  7. In Inspector > Frame Controls, enable Frame Controls and make the following settings:
    1. Set Frame Controls to On
    2. Set Deinterlace to Reverse Telecine
  8. Click Save As to save this setting with a name such as "DVX 24p normal to ProRes 24p".
  9. Add this new Custom setting to all your clips and submit the batch.
The resulting clips will be 24p and can be edited in a 24p sequence in Final Cut Pro with the ProRes 422 24p Easy Setup with no interlacing or cadence issues (this is slightly modified from the Apple Support website and the Canon HV20 workflow: http://support.apple.com/kb/HT2410). The drawback in FCP 6 is the ProRes files will be much larger than the original standard def QuickTime files captured from the DVX. If you have FCP 7, you can choose a lower quality ProRes 422 LT, which will make files smaller than ProRes 422, but still of sufficient quality compared to the original SD files from the DVX.


Hope this helps.
Click to expand...

Holy crap dude. That just saved my butt! I had converted several of my old clips one by one in Cinema Tools last month (when I upgraded from FCE to FCP), edited them, and made a short video of my kid. I opened it up today and dropped a .mov into the timeline and all hell broke loose. (I'm guessing it was because of the .mov.)

My clips all lost their pulldown removal and became interlaced again. i tried using CT to remove telecine again and nothing would work. Then I followed your directions and it worked! Even better, I have a simple way to batch capture 24p if I ever need to.

Since I bought FCP I've switched to filming in 24pa exclusively but for the old stuff this is going to help a ton!
 
You must log in or register to reply here.
Back
Top