Serious interlacing issue in my online - NEED HELP URGENTLY

I have a 24 frame edl with mixed sources (archival...24p shot from DVX100A and not sure what's in advanced mode and what is not)... Need to redigitize to 23.98 again to try and keep this interlacing issue from popping up... Any ideas?

Well for starters, you're going to either have to do one of two things...

A. Keep the 24pA stuff as is and reverse-telecine the 24pS stuff so it'll work in a native 24p timeline.

or

B. Keep the 24pS stuff as is and add 3:2 pulldown to the 24pA stuff.

Personally I'd go with option A. If you have a Kona card or a BMD card, you can do reverse telecine on the fly upon capture. If not, you'll have to manually transcode each clip after its been captured. You'll definitely need to figure out which clips are 24pA and which are 24pS. Bummer. =(

Marco Solorio | OneRiver Media | ORM Blog | Twitter | Facebook | Media Batch

Thanks for this...greatly appreciated. I think now most is in 24pA, if not all, but I can't be certain. I can't get in touch with my shooters and we brought a couple of other DVX100A's along and not sure if each time those were set to 24PA...I think they were.

So presuming all is 24pA, and my post house has a kona card, then I'd bring that in as you suggest and then by chance if a few clips are standard 24p then theoretically we might be able to identify those clips in a careful screening of the film?

My post house is great but they're geared towards Avid and not FCP nearly as much so this advice is very, very helpful...

Yeah, hopefully the majority of your stuff is 24pA. If they do have a Kona card, then you might be in the clear. Luckily, the DVX100 cameras always maintain the A-frame for 24pS on frames ending in zero and five, so you wont have to figure out what the 3:2 cadence is for each clip, although if I recall it can guesstimate it if need be, but I digress.

Now let's just hope they have a DV deck with SDI or YUV outputs for the Kona card. You can't do the reverse-telecine Kona capture via FireWire using the Kona card.

This is definitely not the first time an editor has been given mixed 24p formats, so you're not alone and there definitely is a solution... it just takes extra time that in all reality, either the camera person or the director should pay the editor for!!! ;-)

Marco Solorio | OneRiver Media | ORM Blog | Twitter | Facebook | Media Batch