I've done a bunch of reading here on the board re: 24p vs 24pn. I understand how the two modes are different ("24 over 60" and native 24), and I understand the differences in how they're recorded to P2.

The question that I've seen pop up on several occasions is "Will 24pn work for broadcast?" And the answer that I've seen is "Yes, pulldown will be added when you print to tape". What if our deliverable isn't tape, but instead a quicktime? If I'm shooting in 720 24pn on the HVX200, edit the spot in 24pn, then create a Standard Def quicktime master for the station, does that take care of the pulldown issue or is there a step somewhere in the middle that I'm missing?

And as a follow-up to that question--if we're shooting primarily for broadcast, would we be better off (i.e. save lots of processing/encoding time/hassle) just shooting in "over 60"? For this particular campaign, there will also be a web component and we make a few DVDs for talent and the client, but those are secondary.

So...with those parameters in mind, what would you do in my situation?

Ultimately it will be put out to tape or played out to SDI in which case pulldown will be added as it's broadcast. All TV shows and most movies for DVD are mastered at 1080/24p these days and all submasters derived from that format so it's a pretty safe bet. 24pN is simply the most efficient way to arrive at a native 24p format.

Noah

thanks for the clarification, Noah.

One workflow follow-up question--If I stay in 720p for the edit and create an SD quicktime master after the spot is completed, if I drop it in Compressor, for instance, and use an SD DVCPRO50 29.97 preset, that would also introduce the pulldown, correct?

Compressor doesn't add pulldown. You would need to run that out to tape via Firewire in FCP to get pulldown.

Noah