really?

god, why didn't someone else say that?

the most i would do is either burn it to dvd, or export it to tape and make a vhs dupe.

there really aren't any other steps needed?

i have read so much about the whole pulldown issue but it just got more confusing the more i read.

matthew

Hi,
Just be sure that you shoot in 24p (Standard) for your straight-to-video stuff. 24p(Advanced) is for if you want to go out to film or make progressive-scan DVDs.

Much more info can be found here: http://www.adamwilt.com

Good luck!

From what I have heard premiere pro does not do 2:3:3:2 pull downs as of yet.

Meaning if you film in 24a you will not be able to convert it when importing it into premiere.

Avid, Vegas, and FCP are the only ones I do believe, if there is others please post.

Blade 2 will edit 24pa as well.

Blade 2.2 only does 24p not 24a as I have read it.

ok. this is exactly what i'm talking about...

#1. i only care about premiere pro

#2. i want to be able to make dvd's and vhs copies.

#3. i want to be able to make those dvd's progressive scan (how does a dvd work if the person doesn't have a progressive scan player? doesn't the dvd down convert to interlaced on it's own?)

this is the sort of mixed answers that makes me aprehensive about getting the dvx-100

i mean if i get a pd-150 (pd-170) i know what to do with it.

i love the idea of 24p and the whole cinelook stuff, but i need a definitive answer that i'm not going to either shoot a bunch of stuff that i won't be able to edit, or have to throw away my investment in premiere pro and my bigger investment in the time i have spent learning premiere.

matthew

Mathhew:

If you use Premiere Pro, I recommend getting DV Filmmaker (lots of threads here on it) to process your footage. Or you can shoot 24p standard and just be careful of judder frames when you edit.

I'm not sure of Premier Pro's output options (i.e. can it output progressive 24fps Mpeg) since the last version I used was 6.0) but DV Filmmaker should be able to help you create a usable file though you may have to get another mpeg encoder if Premiere Pro won't do it.

And yes, the player just ouputs interlaced from progressive DVD's if not in progressive mode or does not support progressive.

Premiere Pro outputs have changed however it's when you film in 24a and you need to remove the 2:3:3:2 and then again add it when going to post.

That's all I am talking about as to gets ability to edit it is a good NLE as of yet there will be an update the first or second quarter of this next year bringing it up to where it needs to be.

don't want to confuse anybody any further but will premiere pro edit 30p images and output 30p DVDs?

the look of 30p and 24p are very very close- perhaps if it can edit this footage it would solve your progressive scan DVD question.....I wish i had the answer for you...as i am debating the same situation....whether to spend a little more for an avid express pro or spend a little less on adobe's video collection

any help?

thanks

30P needs no special support at all. It's turns into 60i, but because each field is the same moment in time, your home free.

Blade 2.2 does support advanced:

http://www.in-sync.com/index.php/fuseaction/support_documentation_24p_editing

>>24P Standard doesn't lose any frames, I don't know what that reference is to. 24P Standard looks similar to film after it's been transferred to video -- all the information is there, nothing's lost.<<

Actually, working in 24P standard with 3:2 pulddown on a 60i tape format makes it impossible to reconstruct every discrete 24fps frame intact from the 60i source. 24P-Advanced is 3:2:2:3, so it allows full recovery of each frame.

Ong,

Are you shooting on the HD10 or another camera?

heath

It's shot aredy in DVX100, the PAL version, which only have 25p mode only.

Hello Ong,

What NLE software are you currently using or would prefer to use? Let's start from there since there are so many different NLE solutions out there - might as well narrow down the answer to the NLE software that you will be using.

Let us know, ok?

- don

If you shot it in 25p mode, then you have no editing issues to worry about. There is no pulldown or any other complication involved: you can use any editor that supports PAL and you'll be able to edit frame-accurately, as long as you tell it to use full frames, not fields.

24pA test
 

Does anyone have footy of the same thing shot in 24p, 24p A, and 24p A trasfered to film so we can compare???? I wouldnt like to see a before and after shot of some 24p a footy..
thanks

24P and 24PA will look identical, assuming editing in a 24P timeline.

So, I'm not sure I know what you're asking-- before and after what? Before and after being transferred to film? Is that the question? If so, you might ask Noah Kadner, I believe he transferred his Promax DVX/PD150 comparison DVD footage up to 35mm...

Using DVX100 for 60i to 24p conversion?
 

Has anyone done this, how would work out?

1. Shoot & edit a project in 60i

2. Run it through a regular tv

3. Point a Dvx100 at the Tv & record in 24p andvanced.


Aside from the possible quality loss are there any conversion problems?

Is this similar to what the dv to film houses do only with a 35 mm camera pointed at the source?

i'm asking to see what 24p footage looks like before you tansfer it to film compared to what it looks like after you transfer it to film. Transfering it to film must look different right?

Are you asking that it be transferred to film, and then that film is telecine'd back to video? I don't know anyone who's done that.

Maybe you could get something transferred to film and then arrange a test with a theater, and project the raw footage using their "advertising" projector, followed by them projecting the actual film footage? Maybe a film festival would be open to doing something like that...

If you're able to go to New York City, DuArt film labs shows screenings of video they've transferred to film every week. Check out their website www.duart.com for more info.

You might also be interested in this thread:


http://www.dvinfo.net/conf/showthread.php?s=&threadid=7879&highlight=duart

What software to use for 25p footage? Can Premier 6.5 do that?

I think all NLE's can handle progressive PAL (25P) footage. As far as I know only the special pull down methodes with 24P footage requires special options for NLE's. SO far I know Vegas and FCP and perhaps also AVID are prepared for that.

That's great! Thanks Peter.

ALL I WANT IS TO SEE a split screen of.. 24p advanced footage on the left side, and a what that SAME footage looks like AFTER you trasfer it to film! TONS OF PEOPLE ON THIS SITE HAVE TRASFERED THEIR to film. SO LETS DO SOME TEST.

Mike,

Transfering DV to film is a very expenssive proposition. To then do a telecine back to video also requires a lot of money. I have a bunch of 24pA footage; if you want to pay for the transfer to film and back to video I'd certainly be up for it! ;)

Really, though, I don't know anyone that has done what you're asking. Not a lot of people have the $$$ available for this sort of thing. The few that have been able to do so are probably busy trying to get their films in some festivals. If I were you, I'd probably pay a visit to the folks at DuArt labs in NYC, or DVFilm.com in Texas. These are the most likely people who would have the kind of "split screen" comparison between the two. Other than that, I have no idea.

Best of luck!

Actually, I've never heard of anyone transfering from DV to film and then transferring from film back to DV. To do so wouldn't really make sense, because if you wanted DV stuff you'd use the original DV footage since it'd be better quality (not to mention a lot less $$$).

To do what you propose would be interesting, but wouldn't really show/prove anything since there are so many variables involved within each transfer.

so no one here really transfers to film.

Well this would be a loss that will result in an unusuable
picture basically. You will see the TV's refresh rate. You won't
see all of the picture and you'll probably also will be able to
see the scanlines etc.

You can definitely do it, but the image will look terrible. Like Rob said, the loss in quality would be staggering. Unless you're going for some weird visual effect, it's going to look terrible. If you have a DVX100 available, why not just shoot with it instead? Unlesss you're trying to have both a 60i and a 24pA version of your footage... hmmm... In that case, you're better off not using the DVX at all. Just shoot in 60i, and then de-interlace it using DVFilm Maker, Magic Bullet, or Cinema Tools. That way you'll have 60i and progressive versions of the footage.

But whatever you do, don't shoot the TV! 35mm conversion requires very expensive machinery, well beyond normal people's range of affordability. They certainly don't just point a 35mm camera at a TV and record the thing. Your best bet is to use the DVX100 and record in 24pA, 24p, or 30p. The results are stunning for a camera that price.

People transfer to film all the time.

NOBODY TRANSFERS THAT BACK TO VIDEO.

That's the point you're missing. I mean, sure, someone could give you a videotape, and they could cut out a frame from their film transfer and send it to you, but would that be a useful comparison?

Like others have said, I also have never heard of anyone transferring their video up to film and then telecine'ing that back down to video. It just isn't done.

i just want to see what is looks like transfered to film COMPARED (NOT BROUGHT BACK) to video. ONE clip of a clip brought to film and the OTHER CLIP OF WHAT IS LOOKED LIKE BEFORE IT WAS BROUGHT TO FILM. NOT BROUGHT BACK TO DV.

Mike, what everyone is trying to tell you, is that no one incurs the expense of transferring film back to video. They can't send you a few minutes of film. In order to post it to the net, it needs to be video in order to make a QuickTime etc. If you want to see film go to a movie theatre, then watch the video or DVD.

Please do not use all caps, it is considered yelling and very rude. Thanks for your cooperation.

Wasn't there a clip like that online just recently with someone doing a massage? It might have been 24p standard, but its pretty much the same (considering you'd be converting to 24p native if you were using advanced). I'll see if I can find it.

The massage clip was mine. That was film transferred to video, compared to the same footage shot straight on the DVX. Which is not what Mike's asking.

Mike, unless we're not understanding what you're asking, the only way you're going to see DVX footage that's been transferred to film is in a theater. And DuArt is one of the few places where that can be done, where they have transferred DVX footage.

How else do you propose to see footage that's been transferred to film, except on film?

I think Fotokem in L.A. also has some test screenings.

As for what you're asking, in a month or two I should have my test completed. I have a variety of things shot on the DVX that will be transferred to film, and the film print will be made available to anyone who wants to order a copy for a nominal charge, so they can project DVX100 footage themselves and see what it looks like.

You could also then look at the original footage on video. I assume that's what you're looking for?

YES!

Okay, well, like I said, it'll be about a month or so before the footage is ready.

The lab will make dupe prints available for interested parties, at a nominal charge.

You'd have to order a print from them, and then you'll also have to make arrangements with a local movie house to project the footage for you.

The footage on the test includes indoor & outdoor, primarily anamorphic adapter/24PA/thin line detail, but with some shots from the mini35 as well.

24p in slow motion
 

Ok I shot the best 24p EVER a few days ago. Like no one can tops my shit yo. But I put the speed down to 60% in premier pro and it looks kind of funky, what should i do to make the picture more clear/smooth?????

Shoot 30p for slow mo. If you must slo mo, check the field settings (I don't have Premier Pro, used to use Premiere 5 some time ago). Premiere Pro may have issue when slow mo on 2:3 pulldown material.

Specially for weddings. I made a big mastake and used 24p for weddings. Looks pretty good. But come time to slow it down, it's very gittery. If there does come time when you have to do it. Slow the 24p clips down to 75% with frame blending turned on. Then save/render the clip, re-open it and then type in 75% again if you need to slow it down even more. Either that or apply maximium de-flicker filtering on the rendered clip. Final Cut Pro has a great filter for this.