Acquiring in 24F for Filmout at DVinfo.net

Michael Galvan · February 15th, 2006, 05:22 PM

Hey guys,

I have heard on 2 separate occasions that one shouldn't shoot in the 24F mode if their intention is for filmout. someone else told me that there was a Canon rep who even said one time that it would be better to shoot in the 60i mode and do a conversion.

This has me confused. I don't see any reason why not to shoot using the 24F mode on the Canon for the purpose of a filmout. It gives you a progressive scan output with the exact motion rendition of 24P (only with a slight resolution loss instead of increase) and allows you to edit in a true 23.98 timeline for a 1-to-1 transfer.

Is there something that I am missing?

Daniel Epstein · February 15th, 2006, 05:53 PM

Michael,
I think the reason the Canon rep advised you this way has to do with the lack of editing solutions for 24f HDV at this point. In theory 24F HDV should be the way to go. In practice you will be one of the first if you do it. You remember the saying about pioneers being the ones with the arrows in the back. The 60i method is more established since people have had a year to work with it. I think your bigger problem is just getting your 24F footage into the form your system can edit it. If you convert it to a codec like DVCPro 100HD and edit that way instead of HDV then I think you could follow a standard film out procedure.

Michael Galvan · February 15th, 2006, 06:14 PM

Thanks Daniel. Indeed that is my current workflow (capture the 24f .m2t file and convert it to a 23.976 DVCPROHD file and edit in a 1080/24p timeline in Final Cut Pro ... it works great!!!).

So in essence, once you have a workflow with 24F, then it is the way to go for a filmout then ...

Anything else I'm missing?

Barlow Elton · February 15th, 2006, 06:58 PM

That should be it...if you're happy with the quality of the conversion, then just finish in DVCPROHD for filmout.

Pete Tomov · February 16th, 2006, 03:29 AM

Actually I think the Canon rep said you should use 50i instead of 25p which is big difference 'cos with 50i all you have to do is deintelace while there is no way to render 60i exactly like 24p.

Daniel Epstein · February 16th, 2006, 08:47 AM

I do think you should try a test with your filmout provider to see what it looks like just in case something doesn't show up on your small screens which becomes apparent on the large screen

John Benton · February 23rd, 2006, 08:07 PM

Quote:

Originally Posted by Michael Galvan

Thanks Daniel. Indeed that is my current workflow (capture the 24f .m2t file and convert it to a 23.976 DVCPROHD file and edit in a 1080/24p timeline in Final Cut Pro ... it works great!!!).

So in essence, once you have a workflow with 24F, then it is the way to go for a filmout then ...

Anything else I'm missing?

Michael,
How do you bring the 24F into FCP?
Are you using another program...
How much info/res are you loosing

February 15th, 2006, 05:22 PM	#1
Michael Galvan Major Player Join Date: Sep 2004 Location: New York, NY Posts: 775	Acquiring in 24F for Filmout Hey guys, I have heard on 2 separate occasions that one shouldn't shoot in the 24F mode if their intention is for filmout. someone else told me that there was a Canon rep who even said one time that it would be better to shoot in the 60i mode and do a conversion. This has me confused. I don't see any reason why not to shoot using the 24F mode on the Canon for the purpose of a filmout. It gives you a progressive scan output with the exact motion rendition of 24P (only with a slight resolution loss instead of increase) and allows you to edit in a true 23.98 timeline for a 1-to-1 transfer. Is there something that I am missing? __________________ www.michaelgalvan.com www.screenanthology.com

February 15th, 2006, 06:14 PM	#3
Michael Galvan Major Player Join Date: Sep 2004 Location: New York, NY Posts: 775	Thanks Daniel. Indeed that is my current workflow (capture the 24f .m2t file and convert it to a 23.976 DVCPROHD file and edit in a 1080/24p timeline in Final Cut Pro ... it works great!!!). So in essence, once you have a workflow with 24F, then it is the way to go for a filmout then ... Anything else I'm missing? __________________ www.michaelgalvan.com www.screenanthology.com

February 15th, 2006, 05:53 PM	#2
Daniel Epstein Trustee Join Date: Jan 2006 Location: New York, NY Posts: 1,267	Michael, I think the reason the Canon rep advised you this way has to do with the lack of editing solutions for 24f HDV at this point. In theory 24F HDV should be the way to go. In practice you will be one of the first if you do it. You remember the saying about pioneers being the ones with the arrows in the back. The 60i method is more established since people have had a year to work with it. I think your bigger problem is just getting your 24F footage into the form your system can edit it. If you convert it to a codec like DVCPro 100HD and edit that way instead of HDV then I think you could follow a standard film out procedure.

February 15th, 2006, 06:58 PM	#4
Barlow Elton Major Player Join Date: Mar 2005 Location: UT Posts: 945	That should be it...if you're happy with the quality of the conversion, then just finish in DVCPROHD for filmout.

February 16th, 2006, 03:29 AM	#5
Pete Tomov Regular Crew Join Date: Sep 2005 Posts: 106	Actually I think the Canon rep said you should use 50i instead of 25p which is big difference 'cos with 50i all you have to do is deintelace while there is no way to render 60i exactly like 24p.

February 16th, 2006, 08:47 AM	#6
Daniel Epstein Trustee Join Date: Jan 2006 Location: New York, NY Posts: 1,267	I do think you should try a test with your filmout provider to see what it looks like just in case something doesn't show up on your small screens which becomes apparent on the large screen