Darn. That would stink :(

Thanks for the info David

Would it really matter in the end? I mean could you still transfer to film using either 2:3 or 2:3:3:2? and if so would one be slightly less quality then the other?

I'm still looking into this so haven't made a personal decision yet. I think 24p 2:3:3:2 wide sounds good but I am also thinking of playing with frame speeds for a particular look, that would mean I couldn't stick with 24p right? and then I would have a difficult time in editing?

Sorry if that sounded confusing

thanks

With two years' experience on this subject on the DVX, let me offer some comment:

If you're intending on doing a film transfer, shoot 2:3:3:2 and edit in a 24P-aware application (such as Sony Vegas). Shooting 2:3 would unnecessarily limit quality.

If you're not going to film, then it all depends on how you're going to edit. If you're editing on a 60i timeline, use 2:3. If you're editing on a 24P timeline, use 2:3:3:2.

Yes you could edit 2:3 on a 24P timeline, and yes it would work, but there would be a minor quality hit that you would take, unnecessarily.

2:3:3:2 can be reconstituted into the original 24P frames without loss. 2:3 requires an uncompress and recombining of fields. But further, the DV compression algorithm has two ways it can encode frames: either field-based, or frame-based. If it detects a lot of interfield motion it'll use the field-based compression, but if it doesn't detect much difference it'll use the more efficient frame-based algorithm. 2:3:3:2 allows it to use frame-based for all the frames. 2:3 involves having to use field-based compression for 3 out of every 5 frames. So 2:3:3:2 can be reconstituted to 24P with no loss and can take advantage of frame-based compression.

Shoot 2:3:3:2 for film transfers. Shoot 2:3 when editing in a 60i timeline, and 2:3:3:2 when editing in a 24P timeline.

How do I find the 2:3:2:3 drop down? I can switch to 16x9 and shoot at 24p but can't find the pull down thing. Am I being silly or is it done in editing? I can't find anything in the manual.

the 2:3:3:2 option is in the XL2 menu. Go to Camera Setup/24p mode select/3:2 or 2:3:3:2

i'm realyy sorry but i can't find it. in camera setup i have:

zebra
skin d set
zoom handle
f speed pset
clear scan
self timer
interval t
int rec time

What about when shooting for digital projection. I'm working on something now that I would like to see digitally projected, and have a space where that could be possible. However, I wouldn't blow this up to film. Does it make a difference then?

Matt

Kevin - It should be the very first option in camera setup.

does a pal xl2 even have it? I'm feeling a bit stupid if so. I'll have another look, thanks. I'll post back if I still have trouble

the first option in menu is time code. next is camera set up which has the things i listed. this is worrying now, i don't get it :/

A PAL XL2 should not have any options for pulldown. The 2:3 and 2:3:3:2 pulldown options are strictly for the NTSC camera. PAL cameras shoot at 25p and record that directly to a PAL video stream, no pulldown necessary.

Thankyou Barry :)

So it is automatically preset for PAL? All I need to worry about is that it is set to 16:9

Barry's right, I didn't realize at the time I was answering to a UK user. Yes PAL models won't have the option. 50i = 25p x2. No weird pull down needed. Every progressive frame comes from exactly 2 interlaced fields.

Well my amateur status clearly shows :D

I've learned quite a bit now from you guys so I hope my first test pieces turn out nice.

Digital Projection
 

I second the digital projection question.

This is a great discussion. Does the fact that you intend to project digitally (an probably not transfer to film) change, what appears to be, the general preference for 3:2:2:3?

Douglas