Was told NOT to shoot in 24p. Then why why 24p at all?
- Thread starter EnnioMorricone24
- Start date
Duct Tape Films
Well-known member
Jbadham77 said:
For FCP:
Shoot in EITHER 24Pa (for a 23.976 timeline) or 24P (for a 29.97 timeline).
If you really need to edit on a 23.976 timeline, and you shot 24P standard, you'll need a quick trip to Cinema Tools to conform.
You don't need to reintroduce pulldown.
Duct Tape Films
Well-known member
DavidBeier said:
Ahhh, so you were just saying it loses it's "now" quality, as in the "evening news" quality. Sorry for taking you to school when you already passed the class....
rogar-BigGrin(DBG)Original poster - I dunno who this joker was who told you not to shoot 24P, but if you want it to look and move in a "film like" manner, you need to have a progressive frame. Everything else can add to a more professional look, but that's simply the one thing you got to have. Case in point:
Soap Operas - Well lit, yes, but no one would EVER mistake this stuff for something shot on film.
Conversely:
A Super 8mm film of me from when I was five - Crappy production sure, but it's still film.
Think of it like this....
60i = CBS Evening News
24P = CSI
Last edited:
epplegacks
Active member
So just out of curiousity: If you shoot 24P you can edit on a 29.97 timeline and 24Pa is for editing on a 23.whatever timeline, and both will output to film just fine? This means the only difference will be that the 23.whatever timeline could export a proper 24 frames mpeg-2 video file?
Zack Birlew
Veteran
Whoosh! It's like you guys talked about this all through the night! 
This thread is great, I've never read a thread that's put the whole 24P/24PA-thing into such layman's terms. I really get it now!
This thread is great, I've never read a thread that's put the whole 24P/24PA-thing into such layman's terms. I really get it now!
Just to clear up a little confusion here:
24P in 60i for NTSC looks best however removing pulldown will not yield the original frames
24PA in 60i for NTSC produces more motion judder but pulldown can be removed to yield the original frames.
Ideally 24fps should be edited on a 24P timeline. Editing on a 23.97 T/L may mean FXs get rendered at 60i, the difference might be minor though.
So ideally one would shoot in 24PA, remove pulldown and edit on a 24p timeline and then apply 2:3 pulldown to produce 60i if video output is required. If a film out is the aim then 2:3:3:2 pulldown would be better, the lab can remove the pulldown with no loss. If you have the budget output to CineAlta HDCAM SR would be the best of all. Working on a 1920x1080 4:2:2 T/L means all your graphics and titles are HD, can make a big difference to the look and feel of the movie on the big screen.
The original advice to not shoot 24P might not have been entirely wrong IF (very big IF) the person giving the advice was referring ro shooting on a non true 24P camera. Certainly that'd be true for say a Z1, shooting 60i for a film out would be better than 24CF. In the case of the DVX 100 though, yes, bad advice.
24P in 60i for NTSC looks best however removing pulldown will not yield the original frames
24PA in 60i for NTSC produces more motion judder but pulldown can be removed to yield the original frames.
Ideally 24fps should be edited on a 24P timeline. Editing on a 23.97 T/L may mean FXs get rendered at 60i, the difference might be minor though.
So ideally one would shoot in 24PA, remove pulldown and edit on a 24p timeline and then apply 2:3 pulldown to produce 60i if video output is required. If a film out is the aim then 2:3:3:2 pulldown would be better, the lab can remove the pulldown with no loss. If you have the budget output to CineAlta HDCAM SR would be the best of all. Working on a 1920x1080 4:2:2 T/L means all your graphics and titles are HD, can make a big difference to the look and feel of the movie on the big screen.
The original advice to not shoot 24P might not have been entirely wrong IF (very big IF) the person giving the advice was referring ro shooting on a non true 24P camera. Certainly that'd be true for say a Z1, shooting 60i for a film out would be better than 24CF. In the case of the DVX 100 though, yes, bad advice.
bigteethproductions
Well-known member
No FCE
No FCE
Zim,
I'm pretty sure you CANNOT edit 24p on FCE. I've never tried it myself but have seen the results of other people's efforts, and have researched on the web.
If that is not the case I'd be very curious to know this as well, can anyone verify one way or another.
No FCE
Zim,
I'm pretty sure you CANNOT edit 24p on FCE. I've never tried it myself but have seen the results of other people's efforts, and have researched on the web.
If that is not the case I'd be very curious to know this as well, can anyone verify one way or another.