I've never had trouble watching my timeline through the deck and client monitor on a standard 60i NTSC project, but it rarely plays back 24p projects.

Medium quality playback doesn't even give me the option to output to deck. High quality does and I can see frame grabs, but as soon as I hit play it stops and gives me a flamethrower error. Is there something I need to do to make this work for preview and is this going to be a major problem when I have to output back to tape later down the road?

 What project type 23.976 or 24? What resolution are you workng at?

Michael

24 SD NTSC. I've had the same problem with 23.98 though

 hmmm.... very strange, 23,976 in green/green mode should go right back out with 2:3 insertion on the fly. Let me ask around.

Michael

 Also, I am assuming you are using a DV codec of DV25 or DV50?

Michael

DV25, green/green. It's started in 24fps and thats what I usually work at, but changing the edit speed down to 23.98 didnt make a difference and the same thing happens in my video 24p stuff done at 23.98.

It does work here and there for a bit, and the only thing that seems to make that happen is doing something that will reset the I/O setup for the deck.

Sometimes it will playback okay after I capture, sometimes it will play if I switch to 1080p and then back, I tried changing the DVE preview to software open GL from the graphics card which worked for a bit too. Those are all strange workaround type solutions, though, and none of them consistantly work.

Playing back 24p as 23.976 in the Film/24p settings is not the same as 23.976 project type, and that is your issue.

• 24p project is always 24fps = 48kHz
• 23.976 project is always 23.976fps = 48kHz

What you are doing when setting the edit/playback rate to 23.976 in the Fim/24p setting is really 23.976 - 47.952kHz. And that does not work over the FireWire since it expect 59.94 at 48kHz which is NTSC (by adding the 2:3 back in).

Michael

So is there any way to monitor/digital cut a film project?

 A Mojo deals with the sample rate conversion as analog out in order for you to monitor and output. Many film projects are moving over to 23.976/48kHz as it allows for better digital video workflows.

Michael

Oh, well I wish I'd known that ahead of time. I never have nor will own a mojo because it costs about 20 times what it's worth.

Is a 24p film project a 48048? I thought it just ran the video at 24 instead of 23.98 to get around having to pull the audio down (which I haven't).

 Well it does add support for true 24fps....

Every project is always 48kHz regardless of frame rate. in a 24p NTSC project, the video is pulled up to 24fps from the 23.976/59.94 of the video to be in sync with audio that was imported straight from the set - which was 24fps. If dailies are synced, and you are not importing audio from set directly, 23.976 is a much better format. If shooting 24fps on set and you want to work in a 23.976 post process, the audio should be recorded on set at 48.048kHz in order to be pulled down to 48kHz when working at 23.976 - that way there is no sample rate conversion. Just a play back rate.

Michael

Codec Moment:

I never have nor will own a mojo because it costs about 20 times what it's worth.

Maybe to you. For many it is very cost effective in certain workflows. Ironically, you just posted one of those workflows.

Dom Q. Silverio:

Maybe to you. For many it is very cost effective in certain workflows. Ironically, you just posted one of those workflows.

I'm not about to open this argument up again, all I'm saying is that if I'm going to spend 2500 on I/O hardware, it had better do HD.

And this still doesnt answer my question as to why I have the same problem with a 23.98 project. Assuming I can get that sorted out, would I have any serious problems opening my bins in this project from a 23.98 one to do a digital cut? The synch might slip a bit over longer shots, but would it also start offset?

Codec Moment:

I'm not about to open this argument up again, all I'm saying is that if I'm going to spend 2500 on I/O hardware, it had better do HD.

I am not trying to convince you if it is important to you. I am clarifying that Mojo is useful to others.

Codec Moment:

I have any serious problems opening my bins in this project from a 23.98 one to do a digital cut?

You cannot open a 24p in a 23.976p project. Nothing to do with audio (since both are 44.1 or 48). It has to do with the speed of the actual video.

I have worked in a 23.976p project strictly software only. Audio was 48. Film was transfered from 35mm to HDCAM SR at 23.976p then dubbed to DVCAM. Camera was set to 23.976. So my 48 BWAV files stay sync'd.

HTH