Stormchasing Documentary 24p and 60i footage Documentary

F

Fred_Plowman

Well-known member
Im making a documentary about stormchasing. The actual action footage im considering to make 60i for more realism. The 24p I will use for the rest of the Doc. Interviews etc..

Question? /how do I then put all that on the timeline.. the render will have to be 24p ?? If I want the two to look different the documentary from the action footage of the storm. I realize it will look different somewhat. But I want to let the 60i look like true 60i and the 24p to look like 24p.. How do we mix it like this and get the effect Im looking for?
 
You're probably going to want to use a 60i timeline. The 24p will still look like 24p.

Try a small section. Put on a few seconds of 24p and a few seconds of 60i and cut between the two.

However, when you shoot the 24p, shoot it in 24p, not 24pA. (F5 vs. F6)

But why does your render HAVE to be 24p?
 
Just mixed some footage on a 60i timeline with footage from a canon xl1 and the DVX set at 24pa. Looks very good especially when shooting it in a documentary style with a behind the scenes look..using the DVX as the secondary camera.
 
Because if you're planning to edit on a 60i timeline, it's better to shoot with normal pulldown instead of advanced. Normal pulldown is designed to play 24p in 60i, whereas 24pA is designed to more easily extract the 24p frames and edit them natively. Put simply, there are two 24p frames which will get three 60i fields in advanced pulldown and will be on the screen for 50% longer than the other frames -- and they're back-to-back. So, 24pA being watched in 60i is more apt to show some stutter.

So, if you're going to edit in 60i, shoot 24p. If you're going to edit in 24p, shoot 24pA.

That's not to say it won't work (either way), but it's better.
 
If you DO shoot in 24PA, can you take the extra step to render the file back out to a 24P AVI only inserting 2-3 pulldown instead of 2-3-3-2? Then if you were to bring it into your 60i timeline, it would be like it was an original 24P file instead of 24PA? Just curious.
 
24pa vs 24p -no real difference..

24pa vs 24p -no real difference..

When I used 24pa and put it into my 60i timeline..there was no studdering. So trying to convert a 24pa to 24p really doesn't do much. Maybe next time i'll shoot 24p instead to see the diff..but I'm happy with my result and would rather do the advanced when I shoot. We edited this in premiere..so I'm sure with Vegas...it shouldn't be an issue, since it is more capatible with 24p timelines. The only thing that might be an issue is the sound sync...but with the old traditional..clapper board technique...I found it much easier to decide which.
 
If you’re editing in a 60i timeline, shooting in 24pA doesn’t really do anything for you.

Envision, you can make the conversion if you want, but I’d do so only after trying it “raw” first – if there’s no problem, which there may not be if there’s not a lot of motion (and interview scenes might not have that much), then don’t sweat it. If you see the stutter, then take the 24pA files into a 24p timeline and render out as 24p w/ 3:2 pulldown and bring back into your 60i timeline.

I’m just saying that if you KNOW you’re going to be editing 60i, 24p with normal pulldown is your better bet.
 
Jubal28 said:
So, if you're going to edit in 60i, shoot 24p. If you're going to edit in 24p, shoot 24pA.

That's not to say it won't work (either way), but it's better.
Click to expand...

I've always wondered about the F5 and F6 thing. It seems like the F6 is brighter and in some circumstances (lighting wise) it seems to be better. Is F5 for when you have a scene well lite and are not in "low key"?

Thanks,

Tery
 
F5 and F6 are just stops on the scene file dial. They can be anything you want them to be. The settings are freely changeable.
 
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