If you're editing on a 24p timeline, stick with 2:3:3:2. Even if you've started out with 2:3 footage. 2:3:3:2 exports the footage without having to re-interleave and recompress it.

The DVX uses the same methods: 2:3 is called "24P mode", 2:3:3:2 is called "24PA mode".

Put It Simply Please
 

Ok wow, although this whole thread helped me learn alot i am still very confused, can you just answer me this....

If i want to film a short "film", capture and edit on Premiere Pro 7.0 with a 24p timelline, export and burn a DVD with Encore, i should film in 24p with 2:3:3:2 pulldown, correct? Even though i have no intension of converting to film...

Also, when the xl2 films in 16:9, even though its at a higher resolution than 4:3 and it uses a bigger CCD, it still squeezes it into a 4:3 for editing right? So when i capture i should capture in a widescreen timeline/project?

Wait doesnt that defeat the whole purpose of the bigger CCD? Or does the tape have a fancy way of storing it so when you capture it it is recorded as 960x480?

Ok guys...we have beaten the 24p horse to death in this thread. And because it has turned into a 'my way vs. your way' from some of the contributors, I am closing this thread. For anyone who still doesn't understand 24p workflow, I suggest additional reading and/or training dvds. I know I had to look at this workflow a few times myself before deciding the right way to proceed.

Thanks to all for putting forth their knowledge on this subject.

-gb-

XL2 24p with what shutter speed?
 

Hi guys, I'm shooting with XL2 with 24p fps and I' like to find out at what shutter speed whould I keep it at? Thanks,
ZIA

to make 24p look like film you want to shoot at 1/48th of a second shutter speed, this replicates the spinning mirror in a film camera which is normally open and exposing the film half of the time.

also if you are going for a Saving Private Ryan look put it on 1/250 and move the camera around- it looks pretty cool.

XL2 24p output
 

When shooting in 24p mode, what is the framerate of the video that is actually recorded on tape? Is it recorded as true 24p or is it converted to standard NTSC 29.97 with pulldown such as you'd have when shooting on film and converting to video?

No sooner had I posted this than I found the answer

But in a related question, is there any problem in playing back tapes recorded on the XL2 in 24p with 2:3 or 2:3:3:2 pulldown on VTRs like the Sony DSR-11 or editing them in either Vegas or Premiere?

For anyone else reading this: the answer to Steve's original question is that
the signal is pulled down to 60i (or 30 frames per second). The signal is NOT
stored as 24p, but it can be restored to that on a computer without ANY
signal/quality/frame loss!

To answer your "second" question, since the signal is just plain old NTSC any
DV device can work with it. However, a special flag has been set to let any
decoder that understands that flag know it was recorded in 24p with either
the 2:3 or 2:3:3:2 pulldown sequence.

So get back 24p you will need something that understands that (ie, a recent
NLE on a computer), but anything should be able to work with the signal
(in 60i/30p).

Vegas understands 24p from either one of the later updates to version 4 or
definitely from version 5. Premiere needs Premiere Pro (I think).

Thanks - my question was prompted by considerations regarding shooting in 24p mode in the XL2 and playing the resulting tapes on a deck as the capture device rather than using the camera as the playback device to get the material into the computer. Thinking of getting a DSR-11 for this purpose and I have seen comments elsewhere such as "the Sony DSR-11 doesn't do 24p" and just headed towards clarifying what such a remark really means regarding a mfgr's products. I know it doesn't record native 24p, but as I approach camera & VTR purchase decisions it wouldn't make sense to buy a deck that wouldn't play some of the tapes I'd be shooting.

So, to summarize....
All (or virtually all, as there are usually exceptions...) DV playback devices (whether camera or deck) will be able to read the 24p "flag" and will send that flag through as part of the captured video. It is then up to the software to read the flag, and then perform the pulldown...

Correct?????

First thing first; If you are using adobe premiere, you need adobe premiere pro 1.5. second, the programs (at least premiere) only show you a preview of what the 24p is going to be, at this poin it is still in the 60i format. third, after editing within your 24p timeline, you must then use a mpeg encoder to export your video, becuase mpeg is the only one that will allow a the 24p to export as actual 24fps. when exporting you need to select the frame rate to 24 or the 23.976 or whatever its appose to be, then on the GOP settings, change the 15 frame number to 12 (all of this is in premiere, im not sure about others). the reason why you cannot export to AVI is because it is strickly a 30 fps setting, and premiere will not preform the pull down; also be aware that you cannot mix any 24p with any 30p or 60i video, because the timeline is stickly for 24fps. Alot of media programs like Windows Media Player & Real Player will not play the newly exported 24fps video well, because of the frame rate. Adobe Encore is able to burn the progressive DVD and be able to play back on all progressive DVD players.

The key thing is, is that the 24p is not 24fps until you export to a true 24fps through an mpeg or somthing else. It's a hassel but has good results.

So, can you record at 24p and then use a 30fps settings in timeline, if you can't do a true 24p, or 24fps? I'm still using AP 6.5/Mac and was told I could use the 24 setting on the cam and 30 drop frame for the timeline. Is this correct?

Lucinda

AP 6.5 will allow you to place the 24p footage into the 30 fps timeline becuase the 24p is actually 30 fps footage; if you scroll frame by frame, you will see that every other or third frame is repeated; which is caused by the 2:3 pull down or the 2:3:3:2 pull down that you have selected; when you export the video, its nothin but 24 fps trying to be 30fps which is really bad. AP 6.5 does not have any 24p compatabilities; so far adobe has only recently updated their software to handle 24p and this is only in the new Adobe Premiere Pro 1.5. You should try to upgrade to FCP or Premiere Pro 1.5; their way better then premiere 6.5 (work flow is much faster) and are somewhat simmular to 6.5, so the transistion is not hard.

OK, I understand. For the time being, I can work in 30fps and what about 60i? can't I use the 30fps timeline for that, and what happens when I export that timeline. I am getting FCP, but not 'til the Fall and I need to do some work before the Fall in the version of Premiere that I have with the Canon. Lucinda

Yes, the deck should just send the raw DV stream from tape over firewire
to your computer. Your computer simply stores this stream (in a wrapper
format) which it calls capturing. If the information isn't touched in these
steps (it shouldn't!!) then the flag is still present and any editing package
that understands this flag will be able to remove the pulldown.

Yes, you can also edit the footage with any editing package that does NOT
understand this 24p flag. However, it will just see 30 fps NTSC footage and
edit it like that.

Note: if you do the latter and output the editted movie the flag will be lost
in the OUTPUT file from that point forward. The source files will still have
the flag.