premiere 24p not going through firewire.

adam powell

adam powell

Well-known member
Im having problems :0

Im shooting on a DVX100 set to 24p
and capturing to a Premiere Pro 24P PAL project using a canon xm1 as a Deck.
when I play back the movie on a timeline, It puts nothing through my camera like it would If I were using a standard DV24p timeline.

IE, I cant get the footage BACK into the camera it wont play down the firewire and show up on me telly (innit)

I have it set to playback on DV device and all that, and it works fine standard pal just not 24p :(

Ive given up and started capturing my 24p footage to a standard PAL project.

any advice, can I fix this? anyone had similar problems?

how will capturing 24p footage to a standard timeline effect my rushes/editing?

Cheers guys.
:)
 
PAL and 24p are NOT compatible. You cannot have PAL and 24p. PAL progressive is 25p. If you shoot 24p, you must use NTSC with the apropriate pulldown, 24p or pA. I don't quite understand how you can capture 24p in a standard PAL project.
 
ok so im shooting on scene 6. progressive mode with a PAL dvx,

then just capturing to to PAL 25fps project....so if pal 24p is 25p then all is well yes?

:thumbup: :thumbdown
 
A PAL DVX doesn't freature 24p. It's 25p. 25p is not 24p but it looks the same. Select a 25p setting in Premiere and you should be fine. After 16 years in the industry I still wonder why people don't read the Operation Manual...
 
NZ - I agree with your last statement but I think the problem Adam's having has nothing to do with the camera. You should be looking into the Premiere manual. There is a setting in the preferences to turn on "viewing on hardware" . You need to make sure in your settings you have it turned on so it outputs through firewire while editing. It's an option that can be turned off for slow, resource hungry, computers.

43912986.jpg


43912987.jpg
 
I dont read the manual coz I suck. or Im too busy. Or I like to keep you entertained?

Or im stupid? and I kinda knew there was some difference between the Euro DVX and the NTSC version but I didnt quite get it?

but yeah thanks Sirius_Doggy...my problem is with premiere, I have all that turned on.

I think where I got baffled was, I thought the camera WAS 24p not 25p,

so I set a custom setting in premiere which was PAL 24p and then it wouldnt go down the firewire, because pal 24p doesnt exist perhaps.

but also, NTSC 24p wouldnt go down the wire either.....

but I guess it wont if im not using 24p I dont understand why but yeah, that seems to be the case.

anyway, no matter, its shot in 25fps, and its on a 25fps timeline, its just progressive not interlaced, Its all working and my mind is at ease.

cheers guys.

now I need to figure a way to smooth out the jitter/aliasing effect when i slow my NON 25p down to 50% ( I assume when not on 25p my camera shoots 60i but blatently Im wrong about that too )

feel free to call me a dumbass, im just not very technical.
 
Hi Adam,

Your camera shoots either 50i or 25p. It isn't like the NTSC version which shoots 24p, 30p, 60i (does it shoot 60p as well?), etc...
We, who live in PAL territories, have to configure our settings to 25p if we shoot 25p or 50i (interlaced) if we shoot 50i. There is not advanced mode or the like. It is only 25p or 50i.

Hope that helps

All the best

Fidel.
 
thanks Fidel.

damn man, so ive shot in 50i i think the shutter was 100.5 whats the best settings in a PAL 25fps project for some smooth slowmo?

I was going on barrys instructions thinking I was shooting 60i ... what a gimp.
 
adam powell said:
thanks Fidel.

damn man, so ive shot in 50i i think the shutter was 100.5 whats the best settings in a PAL 25fps project for some smooth slowmo?

I was going on barrys instructions thinking I was shooting 60i ... what a gimp.
Click to expand...

Until recently I've only been doing still animation in After Effects. However, I did experiement with a little video sequence, shot NTSC. The effective frame rate would then be approximately 30, but of course it's 60 fields...

I was using Final Cut Express, and the jerky motion was obvious, so I 'smoothed' the result by basically doing a filter. There may be a fancy filter in Premier, there may be a fancy filter in FC Pro, but how I did this in FCE was to duplicate the sequence in the timeline. On the duplicate I applied a gausian blur, shifted the whole sequence by about 8 frames, then used the layer composite options to 'screen'.

This melded the two sequences and 'smoothed' the jerky motion. I don't have an on line example, but hopefully you get the idea.

Also, in my case I was not trying for a specifically true 'slow motion', I think in order to really do that you'd have to up the frame rate to 120 (or for PAL 100) then replay at 30/25 to get a 'real slo mo' effect. (And I'm not worrying about p or i just 'frames'. In the case of 'i' the effective 'frame rate' in some sense is really 60/50 'frames', and so one would have to have a field rate of better than 240 to then get a 1/4 slo mo speed...)

Otherwise, if the 'slo mo' is really just droping ever 2nd, 4th, etc frame, then one will have the jerky motion effect.
 
You must log in or register to reply here.
Back
Top