MovieMaker76:

laptopeditor,

I agree that Avid has not yet supported  interlaced 24 yet.  But, you CAN capture the footage.  Also, if you look back in the thread you will see ways to work around this.

BUT, I AGREE!!!  It is SOO frustarting - I have contacted Avid many times and expressed our frustration.  They said that at the next BIG RELEASE, that they would support it.

But, you can capture it.

 ...Yeah sure, but what does that do to the source timecode accuracy my friend ? We require a timecode crum trail back home.

24F support would be top on my list (25F in my case). Iam holding off getting MC untill i know where this is going.

Laptopeditor:

MovieMaker76:

laptopeditor,

I agree that Avid has not yet supported  interlaced 24 yet.  But, you CAN capture the footage.  Also, if you look back in the thread you will see ways to work around this.

BUT, I AGREE!!!  It is SOO frustarting - I have contacted Avid many times and expressed our frustration.  They said that at the next BIG RELEASE, that they would support it.

But, you can capture it.

 

 ...Yeah sure, but what does that do to the source timecode accuracy my friend ? We require a timecode crum trail back home.

True.  I am just stating that it can in fact be captured.  Trust me.  I am frustrated just as much as anyone...  But, I was just making the point that you can in fact capture the footage (without timecode).

They are for sure going to support 24f (25f), it is just a matter of time.

Guys,

First, support has created a tech note on the KB for this. 

http://avidtechnology.custhelp.com/cgi-bin/avidtechnology.cfg/php/enduser/std_adp.php?p_faqid=76531

Second, I should know a bit more next week so please email me if I dont post so I can follow up.  Moviemaker76 already emsaled me so I will respond to him via email but if anyone else gets ansty, ping me directly.  38 forums on my plate so sometimes I can not respond realtime.

Marianna

moviemaker76, thanks for your help...I am now closer to my goal of actually getting this footage edited.  I selected HDV for playback, it was on auto.  Now I am able to capture about 12 seconds of footage, If I do not stop capturing sooner than that my whole computer freezes!  Pretty annoying!  Anyone have any idea what i can do to fix this problem?

lorenasa:

moviemaker76, thanks for your help...I am now closer to my goal of actually getting this footage edited.  I selected HDV for playback, it was on auto.  Now I am able to capture about 12 seconds of footage, If I do not stop capturing sooner than that my whole computer freezes!  Pretty annoying!  Anyone have any idea what i can do to fix this problem?

lorenasa,

The other thing you want to make sure of besides HDV playback.  Turn OFF timecode.  When you are about to caputre and select the channels in which you capture from :(Video,Audio 1, Audio 2)  DEselect Timecode.

Try this - it may help immensely.

Guys,

Marianna has emailed me back requesting my phone number.  We have to hand it to her!  She really does try to help us.  Keep your fingers crossed - maybe this can happen sooner than we think!!!

 Interesting and timely thread. I am sitting on a project shot in 24f as well. It seems I can digitize with no audio and tc turned of, but is that the best i can expect from a Symphony on V3? Unreal.

Was considering ingesting & transcoding with another program till avid figures this out. Any suggestions for digitize & transcode? I just checked out MPEG_Streamclip_1.2 but have not used it yet and still need to find a good ingestion app for 24f. Any help would be greatly appreciated!

The Bud Man

buddyearle@gmail.com

Los Angeles, CA

I tried using HDVSplit and it captured 24f effortlessly. HDVSplit is a 472KB free program. Where am I going with this? How can it be that a tiny, free program can do something that the mighty Avid cannot? This is classic a perfect example of why the editorial community can be so cynical about Avid’s commitment.

We have patiently waited for 24f support since the format was introduced. Besides being irritating, it is inconvenient, embarrassing and ultimately forcing us to employ different NLE's into our workflow.

Sorry for the negativity, but this is just plain aggravating.

The Bud Man

buddyearle@gmail.com

Los Angeles, CA

 Buddy, software development is a cruel mistress. Develpment cycles have priorities dictated to it that necessitate some sacrifices like not being able to reverse course and work on including every format that a camera manufacturer decides to drop that week. YOu cite a software that was written specifically to include 24f. Easy to do when that's all you have to work on.

I do know that the next round of development is targeted to increase the software's efficiency with ingest and output in a variety of formats. There is serious work being done in this area this time around and I, for one, am very interested to see the results in this next release. Stay Tuned, I hope this is one format to get a boost this time.

Just so all of you know.  Marianna has given me her number to contact her regarding this issue.  I have called, but have not yet been able to contact her.  I assure you that I will speak to her respectully, but will not hold back on the importance of this issue.

Hopefully, we will get some concrete answers.

Your 24f friend,

Todd

Hi Bud Man :

                        I think allot of folks in production and post, including me, never thought the HDV format would take hold so strongly - Especially in the broadcast post arena. Most of us initially considered Panasonic's P2 with its DVC Pro 100 HD would be the clear winner here. If you will recall, when the Canon XL H1 was first introduced in late 2005 - early 2006, it received strong reviews for its increadible image quality and function set, but was criticised for being a 24 F recording camera, and not 24P. The XL H1 somehow developped a reputation for being an Overkill HDV camcorder in what was always considered from the very outset, a consumer format on a par with miniDV (Most likely due to the same data rate on tape).

                        Then by late 2006, the digi-underground crowd of film makers started grabbing these cameras and we started getting handed their 24 F recorded cassettes. Initially, we couldn't do anything with the format, but then started capturing the cassettes anyway like they were regular 59.94 Hz sources on DPS editing systems, then DPS actually came out with a product that captured the Canon 24 PsF format natively. All this long before Avid, but initially was not a problem for a long time, but now it is. Next thing we began to see is Discovery Channel clearly airing material shot in HDV, then other US cable networks began doing the same. CBC Television here in Canada starts cranking away wholesale in HDV for live news and documentaries with first the Sony HVRZ1, then Canon XL H1. Now every professional broadcast network in this country uses the HDV format on a daily basis along with all of their other formats. Convergent designs is about to release 2 products that when connected to an XL H1 will allow up to full uncompressed 1920 x 1080 raster at 24 F !! The bitching will only get louder for Avid to support all the new Canon HDV camcorders, so it's time is here.

 Thanks for the replies. I dislike being the negative guy, but this situation is indicative of the why their are so many forces pushing us to other platforms.

Producers do not care why we cannot work with their tapes. Especially when they see the image quality and can import the tapes into the fcp on their laptops. 

Producer: "Why can't you conform & color our canon 24f project?"

Me: "Um, well, uh, prosumer format, em, uh... transcode, more time, uh, higher cost, mmm... CLICK.

Seriously. It is that bad. And once that client leaves for a FCP solution, they rarely come back. So what is my choice? To do more FCP work - which we all despise (over here anyway).

If Avid was a public company I am sure the board of directors would be hoping mad at giving away market share like this... oh, wait, Avid is a public company.... Whoops, there I go being negative again!

Buddy

Post Media Group

Beverly Hills, CA

310.289.5959

 Well, the facility owner in me says to just boot up your FCP system and cut there. I've been doing that for years. I've found that no one NLE does everything that I wan and so I have an arsenal now. Each has their strenghts and their weaknesses.

I used to do all of my HD onlining in FCP. Since the DX boxes, that's no longer necessary. However, I still find myself using it for these prosumer files. It's perfect for that, as long as I don't have too long a program or have too many sources to keep track of.

Now, I know that the push is on to nail down all of these different formats in Avid adn, I am hopeful that my FCP rig is going to be relegated to cutting home movies soon. The direction is definitely in the right direction so I'm hoping for the best here.

Ok, I just got off the phone with Marianna.  She is incredibly polite and equally as helpful, and I can tell that she sincerely wants our needs to be met.

Bottom line - The 24f format for AVID IS going to happen - SOONER than we thought.

The beta version for the 24f format should be done very soon (2 weeks) - and testing will begin. 

Then the actual release  will hopefully be out by october or november - depending on the bugs in the beta version.

So, those who have been frustrated and patiently waiting - IT IS COMING.

Yours,

Todd