24p appears interlaced

deleted2

deleted2

Member
i shoot 24p on my dvx, and when i import it too fce it appears interlaced and even when i export it with the de interlace option on it appears interlaced, so i need some help
 
There is a possibility that your computer can't handle the video, try compressing it a bit more and see if that helps. I know when I export from Final Cut sometimes it's too much for my machine and it appears interlaced, but when I compress it more (which I started to do because it was to big for upload) it de-interlaced.
 
Do you have Barry Green's DVX Book? If not, buy it now. NOW! If you do, go look up the answer to this question. I think you know Steve, so maybe ask him to borrow his copy?

Anyways, the reason it appears interlaced is due to the pulldown that Panasonic uses. Are you shooting 24p or 24pA? That's important.

Basically, since you're not shooting on film, you don't have real 24p. Instead, what Panasonic did was they created a way to write it onto tape. Your DVX records a mixture of full frames and interlaced frames, and when you import it into your timeline the editing program can pull out those interlaced frames, leaving you with 24p. It does this differently for 24p and 24pA, so its important that you set up the right timeline - a 24p timeline for 24p, and a 60i timeline for 24pA.

As for solutions? Mess with your settings in FCE and check your camera. What is your framerate? What timeline are you in? What are your export settings?

Buy that book, I'm serious.
 
alright thanks dude, and i kind of know him, but ill ask, and in fce none of the capture settings are 24p the closest one is just regular ntsc or theres pal, but im downloading fcp right now which you can remove the pulldown, and i can import it in 24p so ill see if that helps
 
well its milo so of course it is, and haha milo i just noticed its you because ive seen you on dvxuser, and vimeo haha
 
Good work homie.

I would still look into getting that book. It will help you unlock the potential of your amazing camera - there are things they talk about in there that I would have never thought to look into. If you want, we can work out a way for me to loan you mine - I send it to you, you read it, send it back - but I'll admit its nice to have one of your own to have for reference forever and always.

Good luck mang,

Milos
 
yeah i just asked steve and he said that he doesn't have one, but i think i may just end up buying one if i dont blow my money on a new tripod
 
Well, 70 bucks or whatever it costs is only a small fraction of what a tripod SHOULD cost you. Get the tripod first, but don't bother buying a really cheap tripod. Atleast get a Manfrotto 701 or 501 head (or a libec H22 head) if you're even half serious about this. Oh and some decent sticks. You're better off shooting handheld if your tripod blows.
 
501 is a pretty decent head. Not ripping on him at all.
instead of asking shit on here. just go over to DVXuser.com and READ. Read EVERYTHING. Take it all in. That's how i learned how to use my camera....oh and go out and shoot. Mess around with everything and NEVER shoot ANYTHING on auto. That's just hurting yourself.
 
Only shoot 24pA if you're editing on a 24fps timeline. If you plan on using any 30p footage (as in slow motion), you should be editing on a 29.97fps timeline. You should always capture in 29.97 regardless of your framerate, because that's what tapes record in for output.

Open your 24p footage in cinematools and conform it to 23.98fps. This will change the native file, so you may have to reconnect media in FCP. Also, if you have 30p footage shot with a shutter at 1/120, it will become slow motion once you conform it to 23.98.
 
sorry brotha but thats downright wrongo. footage shot on tape should always be edited in 29.97 unless mixing it with film formats (hence the limited use of 24pA).

Also, FCP isn't going to fix this at all. At most you can set the proper timeline settings (29.97 fps, NTSC, 720x480), but it wont fix the problem. Read my post above; you need CinemaTools to convert all your files before you even open them in FCP.
 
You're right, I mixed up. It's 24p Normal that's better in the 60i timeline.

"If you're going to edit it on a 24P timeline, it's better to shoot in 24pA" - are you saying that the only reason you'd ever want to edit on a 24p timeline is if you had to use film footage mixed with DVX footage, in which case you'd want to film with the DVX in 24pA?

If that's the case, then touche. The DVX book doesn't make note of that - it does say, though, that "you can easily edit 24pA footage on a 60i timeline and 24pN footage on a 24p timeline" but the rule of thumb may be to just stick to 60i. I've never heard that before.
 
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