Question about Capturing DV that was filmed at 24p

[ruthie]

Ok, so my director filmed this footage using one of those new spiffy 24p DV cameras (i believe it was the XL2). He gave me the footage and said any deck would work capturing the footage since its still 29.97 but just encoded as 24p. HOWEVER, when i try and capture (using FCP 4), i keep getting "frames dropped" error message. So i turned off the option for that and tried to continue capturing to no avail. It keeps losing the timecode!! This happens about every 4 seconds of footage. "timecode break"....and at some points, it cant even locate a timecode. Does anyone know if I have to be using a 24p capable DVC in order to capture this? oR is there a setting somewhere that i can adjust to fix this issue. (I have the A/V settings on Anamorphic because it was shot anamorphic. I also tried capturing with the settings on 24).

Another issue im having is the clips that i have managed to capture (none longer than 5 seconds) all have to be rendered as soon as i place them on the timeline. I cant even view them at all. Is this due to the fact it was filmed using the anamorphic setting? Any help would be GREATLY appreciated!!!!

THANKS!

 

[Tim Kolb]

I answered your PM as well, but I suspect that the camera that shot the footage is needed to feed it into the system. The DVX-100 has a method for encoding that pulldown info and the NLEs that I've seen have a "project setting" or separate "mode" of some sort to handle it properly. I'd check on that in FCP...the XL2 hasn't been out a real long time, I wonder if Apple has an upgrade or patch? Or...on the off chance the flag is EXACTLY the same as the Panasonic, I suppose you might try those settings.

Lately, we've been shooting all our "under framerate" stuff on PAL and simply working with that progressive. 25fps is obviously close to 24 and we don't encounter any TC issues like working with these pulldown schemes.

On the render...when you say "anamorphic" are you saying that the footage is 4:3 anamorphic to 16:9, or wider? If the footage is 4:3 on the tape, I'd capture it that way and simply set the PAR (pixel aspect ratio) interpolation rule to "1.2" from ".9" in the software. I'm not an FCP user, but if PPro can do this with a mouseclick, I'd have to believe FCP could do this.

It sounds as if FCP is trying to scale the footage itself through stretching it instead of simply re-interpolating it.