Setting up my system!
- Thread starter kevtim
- Start date
kevtim
Active member
Hi Alex
Is that all there is too it? This is what I do in Final Cut Express 4 at the moment, however I've been told that Final Cut Express doesn't support 25p? How does Final Cut Pro know it's 25p and not 50i? What's the difference between FCE and FCP?
I will be using a camera (although not the DVX because of the hours).
Thanks
Kev
Is that all there is too it? This is what I do in Final Cut Express 4 at the moment, however I've been told that Final Cut Express doesn't support 25p? How does Final Cut Pro know it's 25p and not 50i? What's the difference between FCE and FCP?
I will be using a camera (although not the DVX because of the hours).
Thanks
Kev
Here's the thing about the DVX and progressive: there's always a pull-down that records it to tape at the native interlaced frame rate. With NTSC, both 24P and 30P are recorded as 60i. With PAL, 25P is recorded as 50i.
With NTSC and 24P, the pull-down is pretty tricky as it has to record 24 frames (23.976) to 29.97, which requires some complex frame interpolation. 30P, however, is still a native 29.97 because that's the native frame rate of NTSC video. Since there's onlt a 0.03 frame difference, the "pull-down" is minor. As for editing, 24P from the DVX can be edited at 60i in a regular ol' NTSC project; it just has some interlaced frames due to the pull-down. 30P can also be edited in a regular ol' NTSC project, but has no interlaced frames because they're running at the same rate. FCP thinks it's 60i, but the eye still sees a lack of interlacing.
In the same way, 25P is recorded at 50i and can be edited as such without any frame reordering. You can change the project settings to 25P if you want, but really the only thing that you should do is set the field dominance to "none".
PAL got something right that NTSC did not. Color information with PAL is carried in a subcarrier and the video, even at 50i, still runs at a full 25fps. With NTSC, the original monochrome (B&W) video ran at an actual 30fps. When color television arrived there was no room to carry the color information without sacrificing some of the video content, so 0.03 frames per second were given up to hold the color sync information and that resulted in the NTSC standard of 29.97fps.
As for the differences between FCE and FCP (FCPX notwithstanding... as it has no support for tape-based workflow and actually lacks many of these functions), it's really what FCP offers that FCE does not. Here are just a few of them:
- Wide selection of codecs, both SD and HD
- Support for different frame rates
- Pull-down removal for extrapolating 24p from 60i (aka Adavanced Pulldown Removal)
- User-defined staring TC for each sequence (FCE always starts at 00:00:00;00)
- OMF export for sending audio to a post-production facility
- Logging function with batch capture
- Better color-correction tools
There's so much more (including the rest of the FCS suite). But since the DVX records everything at 60i (NTSC) or 50i (PAL), FCE can actually edit pretty much everything from the DVX.
With NTSC and 24P, the pull-down is pretty tricky as it has to record 24 frames (23.976) to 29.97, which requires some complex frame interpolation. 30P, however, is still a native 29.97 because that's the native frame rate of NTSC video. Since there's onlt a 0.03 frame difference, the "pull-down" is minor. As for editing, 24P from the DVX can be edited at 60i in a regular ol' NTSC project; it just has some interlaced frames due to the pull-down. 30P can also be edited in a regular ol' NTSC project, but has no interlaced frames because they're running at the same rate. FCP thinks it's 60i, but the eye still sees a lack of interlacing.
In the same way, 25P is recorded at 50i and can be edited as such without any frame reordering. You can change the project settings to 25P if you want, but really the only thing that you should do is set the field dominance to "none".
PAL got something right that NTSC did not. Color information with PAL is carried in a subcarrier and the video, even at 50i, still runs at a full 25fps. With NTSC, the original monochrome (B&W) video ran at an actual 30fps. When color television arrived there was no room to carry the color information without sacrificing some of the video content, so 0.03 frames per second were given up to hold the color sync information and that resulted in the NTSC standard of 29.97fps.
As for the differences between FCE and FCP (FCPX notwithstanding... as it has no support for tape-based workflow and actually lacks many of these functions), it's really what FCP offers that FCE does not. Here are just a few of them:
- Wide selection of codecs, both SD and HD
- Support for different frame rates
- Pull-down removal for extrapolating 24p from 60i (aka Adavanced Pulldown Removal)
- User-defined staring TC for each sequence (FCE always starts at 00:00:00;00)
- OMF export for sending audio to a post-production facility
- Logging function with batch capture
- Better color-correction tools
There's so much more (including the rest of the FCS suite). But since the DVX records everything at 60i (NTSC) or 50i (PAL), FCE can actually edit pretty much everything from the DVX.
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