PS: I'm also judging based on a complete production thru to HD DVD.[/QUOTE]

Steve,
How are you burning your HD-DVDs? What program? What burner?
Work flow Please.

Ron,

I don't know about Steve, but I just upgraded to FCS2 and I can burn HDDVDs using DVDSP4 to a red laser DVD! Only about 20 minutes fits, but it works great. Plays fine on my Toshiba HDA1 with the latest firmware. You edit in HDV, output to HDV, open DVDSP, select HD-DVD not SD-DVD, and then import the HDV and select burn. Pop in a regular 'ol DVD and it works great. I haven't tried to make any menus yet, I just upgraded a few days ago.

Interested to know...

Were you using a normal DVD Burner or a HD-DVD one?

Kin

Just the superdrive that came with my MAC tower 2 years ago! Sorry to the OP for going off topic. But the day I made my first HD-DVD was as exciting as when I made my first SD-DVD....I was grinning from ear to ear!

Shot a wedding in and old historic church this last weekend used three cams two V1s and a HC1. To try and match the cams I set the V1s to a custom setting that is called Church in my cam. I got the settings from Piotr Wozniacki and they seemed to work pretty good. In the original settings the skin detail was turned off I read in another tread I should be using them so I am experimenting with them now. Any knowledge on the use of skin detail and LVL could be helpful. Is there a preferred setting for blacks or whites. Any help on this will be very useful.

Church Profile
Color Level ------------ +3
Color Phase ------------ 0
Sharpness --------------7
Skintone DTL Type ----- 2
Skintone LVL -----------4
WB Shift ---------------0
Cinematone Gama -----Off
Cinematone Color -----Off

I have a question about the frame rates. I suppose this is the thread to do it in.

I just tested out the V1 and I have a few questions:

1. What is the 24A mode and how does that differ from the 24p?

2. I'm trying to shoot a video 1080/30i and I don't think this camera is giving me that option. I set the mode to what I think was 30p, and when I played back and captured to FCP it read it as 60i. Am I doing something wrong?

Plan and simple, how do I set the camera to capture at the correct HD setting? I'm also trying to capture to FCP in standard def, NOT HD. Its just the way we have to do it.

3. When we tried capturing right to the FCP without a tape, the image was squished, and even when I set it off of squish to "letter box" it still was squished on the computer. What can I do so I can capture in letter box?

4. Any settings that I should know about with the ilink so all of my footage isn't ruined or wasted that we shot HD and not just on SD?

Thanks for the input guys

Hi Justin

I don't have FCP but using Vegas 7 not a problem. My is PAL at 50i correct capture in both DV, SD and HDV

Justin, 24 and 24a are both 24p. The “a” designation has something to do with the way the “I” frames and time code are written to the tape. From what it understand the 24a is easier to pull down the original 24 frames.

Anyone who understands this better than me jump in at anytime and straiten this out.

When you set your cam to 30p the cam records the progressive frames to a 60i stream. De-interlace it after capture and you have 30p. Do not De-interlace it and you have 60i with repeated frames. If you want 60 interlaced frames turn off the progressive feature.

I don’t know about Final Cut but in Premiere Pro you can set the interpret footage feature to adjust the image properly for editing.

If you shot in hd and you can play it back on your cam and it looks fine on the cam then you have not lost it you just need to work out your capture settings.

I'd love to know how "interpret footage" works in Premiere Pro. Because 30p conversion is relatively simple, but I'd love to be able to edit HDV natively in Premiere Pro CS3 in 24P because I don't need Cineform until they've accelerated support for multi-cam (which they've been promising for a while actually, seems to be low on their list of priorities).

However when I ingest my 60i signal, I'm suspicious that if I set the frame rate to 23.976fps that I'm not getting the true 24P that I would if I ingested it with Vegas.

Anyone know?

And since Vegas does pulldown the material correctly, what codec could I export in Vegas that would import well in Premiere Pro? I tried experimenting with codecs once but I think the pixel aspect ratio kept screwing up because my 16:9 video was always squeezed.

This should shed light on how Vegas treats 24p

www.david-jimerson.com/Vegas24pBasics.zip

The clip is great at explaining how intelligent Vegas is at removing pulldown, and that it doesn't matter what your capture method is, etc. Which is why I'm frustrated that other NLEs do a poor job detecting the proper cadence of the pulldown. I'd love Adobe to specify in detail how their "Interpret Footage" option works, because I don't trust it yet.

And in the meantime, I'd like to take full advantage of Vegas understanding pulldown by possibly exporting it to another codec at 24P (pulldown removed) that could easily be imported into Premiere Pro.

Which is why I'm wondering which file formats are compatible with Adobe Premiere Pro CS3 at a native frame rate of 24P.

Okay I found some info on Adobe's site about Interpret Footage

http://livedocs.adobe.com/en_US/Afte...6dea-7f82.html

It seems you can create your own rules for interpreting footage by editing the "Interpreting Rules.txt" file
Which is great news, in theory, as long as we know the proper cadence of 24A and script it in this file.

It seems as though we're just having a hard time pulling down the 24A mode because it's an atypical implementation of 3:2 pulldown. So I guess my question is, why should we sway to 24A and not just use the regular 3:2 pulldown, since NLEs like Adobe already have settings to remove the 3:2 cadence. I assume Avid and such can also pulldown the regular 3:2.

Would anyone agree, or am I overlooking something here?

You might look into Cineform Neo hdv. I use it and it makes capturing faster and cineform puts it into the right intermediate.

Yeah I love Cineform and all, and Aspect HDV is great for Adobe users... but I can't really afford it right now, and I'd prefer to edit HDV natively in Premiere Pro until I decide to buy a $500 plugin when Adobe SHOULD have added proper support for the V1U in CS3.

They had plenty of time.

Now I can only hope that they'll put out scripts/plugins, similar to what they did when they added support for Canon's HDV products. I'm not holding my breath though.

Craig, are you using CS3 now? And are you saying that CS3 can’t do the pull down?

Hugh, when you use NEO, does it play in real time or does it have to be rendered? The reason I ask is I tried the trial version and it had to be rendered.