24p

In Audio/video settings in FCPHD. I set my project sequence at DV NTSC 48 KHz 24 should I capture my footage at DV NTSC 48 KHz Advanced (2:3:3:2) pulldown removal.

We had a problem with are project because other material that was digitized and we thought it was 24p, but when we drop the clips into the DV NTSC 48 KHz 24 project sequence we have to render the clips and we should not have to do this right?

Now we think that the footage got digitized at 23.98 and not 24p. What is the difference between 24p and 23.98 and how do you make sure that you capture footage at 24p, so that it will match the project sequence which is set at DV NTSC 48 KHz 24.

thanks role

24p can be editing on a 29.97 timeline..in fact, it is best if it is on a 29.97 timeline. It is 24PA that needs to be captured with the advanced Pulldown option:

#23 Differences between 24p and 24pA

Shane's Stock Answer #23

Quoting Adam Wilt's site found at:

[www.adamwilt.com]

Shoot 24p Advanced for:
? Post-production using tools that understand Advanced pulldown. 24p Advanced footage can be turned into pure 24p footage more cleanly than 24p standard footage, because every frame in the pure 24p timeline is pulled from a whole frame in the 24p Advanced footage, whereas the C frame in 24p Standard footage is split across two different source frames as discussed above.
Shoot 24p Standard for:
? Getting the ?film look? on video when you're staying on video and editing at 29.97.
? Intercutting with film transfers also using 3:2 pulldown, and staying on video at 29.97.
? Working with traditional film-on-tape tools that understand 3:2 pulldown, but not 2:3:3:2 advanced pulldown, when you need to extract the 24p footage for true 24p processing.
Shoot 30p for:
? Getting true progressive pictures with a 30 fps frame rate, as when pulling stills for motion analysis.
? Working alongside Canons and older Panasonics in Frame Movie Mode, when you want to match their motion rendering.
? You want the slightly "filmic" motion of 30p, but don't want to go to 24p, and you aren't concerned about ever going to film or converting to PAL.
Shoot 60i for:
? Anything that you want to use as plain ol' video at NTSC frame rates: in 60i, this camera makes pix that look (from a motion-rendering standpoint) just like the pix from any other video camera.
? In other words, use 60i for everything that isn't supposed to ?look like film? and doesn't need progressive scan!
Again, these are general guidelines, not firm rules. However, I will state one fairly firm rule:

If I want to capture 24p or 24p advanced footage in final cut HD what should I choose as my capture settings in Audio/video settings?

Also If 24p is actually 23.98fps why do they have in final cut sequence presets the option to have a 23.98 fps project sequence or a 24 fps project sequence?

thanks Role

I'm sorry to be blunt Role, but did you not read my post? It is laid out there plain as the nose on my face...

24P is recorded at 29.97, just has a cadence to it that make it have a film-like look. Capture it at 29.97fps...normal DV/NTSC setting.

24PA (ADVANCED) has been shot at 23.98 and recorded with pulldown onto tape at 29.97. THAT format you need to either reverse telecine or capture with the ADVANCE PULLDOWN option.

Film...and only film...or 24PA that you intend to blow up to film, frame for frame, runs at 24fps. Unless you are cutting film or intending to go to film, do not cut at 24fps.

And...if you plan on mastering on tape, never shoot or cut at 23.98...unless your tape format is HD. ALL standard definition tape formats run at 29.97, and it would be pointless to edit at 23.98. If you plan on web distribution or outputting to DVD, then 23.98 is for you.