New 100B owner. 24P threads. my head is spinning

Tommy K

Tommy K

Well-known member
Hello everyone. I just sold off the old Sony DSR 250 and VX1000 cams and bought a new DVX100B at BH Photo Video in NYC. I definitely have a learning curve. I am new to Panasonic but not to video production. I am looking for real world experiences. I have searched many threads and read Adam Wilts comments on 24P vs 24PA. It seems like 24P is the choice for my work. Can I acheive good quality/results for NTSC DVD and Broadcast delivery using 24P with a 29.97 timeline editor? I am only after a nice film look and don't ever plan to transfer my upcoming productions to film. I just want to stay away from the "60i News Look". I will also use Magic Bullet to complete the look. It will be outputted to DVCAM tape and evetually bumped up to Digi-Beta for broadcast delivery. I will also author DVD's from the shows. I will add that some of my scenes will be green screened and will also use some slo mo in the edit. Thanks!
 
Thanks for the reply David. For now I would ideally like to stick to the long form editor that I really like to use. Don't laugh... I use Discreets now defunct CineStream (formerly EditDV). I use CineStream for programs that have hundreds of clips to manage and edit. The timeline and bin management is better than anything that I currently own (Avid express and Liquid). I can drag and drop video and/or audio anywhere on the timeline... No fuss, no muss. It is great to do cuts only editing. Do I need a 24P editor? By editing on a 29.97 timeline am I degrading the picture quality by virtue of the telecine process? What is the obvious and bottomline pitfalls to using 29.97? Thanks.
 
If it's truly cuts only, then no harm, no foul. But if you want to do anything more ambitious, including even crossfades and cross dissolves (to say nothing of compositing, etc.), you're going to want to do it in 24p.

You're not degrading the picture quality per se, though by nature of being interlaced you're losing a little resolution. But you're editing in a different timebase than the footage, and animated effects, for example, will be in 60i (29.97) and its motion may clash with the footage.
 
I will have to do some dissolves and compositing as well. Arrrg! it sounds like I will need a 24P editor. That will really slow down my edit process. I use Cinestream like a word processor. Seriously I can edit very fast with CS. So what you are saying is that anything that is rendered will be rendered at 29.97 and the footage recorded at 24P will look funny during the renedered effects? Do I have that right? I thought that even though it is recorded at 24P it is converted to 29.97 the DV standard on the DV tape.
 
It won't "look funny;" it'll look like 24p. But there will be a noticeable difference between animation rendered at 60i and the 24p footage; the animation will look hyper-video-ish in comparison.

Yeah, you really should go for a 24p editor. It's not too much of a stretch to say that hanging on to Cinestream is like hanging on to a Commodore 64 just because you know it better.
 
Any recommendations for long form editing? Its not a matter of knowing Cinestream better. It is a matter of effiency and speed for me. Its the interface and timeline/bin storage that keeps me using it. I own and know Avid DV quite well and Liquid Edition. Have test driven Vegas and Premier. I use other apps as well After effects and Ultra. I think I will consider Avid Liquid 7. Thanks again.
 
Nothing does 24p better than Vegas; another of its strong points is its very intuitive interface -- but many point to media management as a weaker point with it. But I just use Windows Explorer to do the same things the other apps' media management tools do; clips can be dragged to the timeline straight from any folder.

Liquid 7 does NOT do 24p. You can set up a 24p timeline, but it doesn't remove pulldown; it can't insert it later, and you can't preview out when cutting 24p.
 
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