Finally had time to begin working with 24p. Two products seem to work fine: AspectHD for Premiere Pro and FCP 5.

Both can perform editing sync sound with -- so far -- three color corrected streams. I expect to get 4 to 7.

AspectHD + PP running on a 3.2GHz Dell laptop with 1GB RAM and 7200rpm disk. FCP 5 running on dual 2.5 G5 with 2GB RAM.

AspectHD is works exactly like DV editing. You capture within Premiere and there is no sign of the conversion to CFHD. (OK -- HD100 transport control still doesn't seem fully implemented , so you use Scene Detect.)

FCP 5 requires you work as if you had "seperate system" audio. And, here too you use Scene Detect.

CFHD offers higher quality than HDV while AIC offers lower quality than HDV.

AspectHD +PP is significantly faster than Vegas which really rules Vegas-out for me. Likewise, Adobe's free HDV plug-in is a very poor performer.

Before writing all this up -- I want to investigate the Export issues. And, Export times.

At this point I don't think either solution will write 24p to HDV. But, it should be possible to write 720p30 with 2:3 pulldown to HDV. (And, likely the same will work for DV Export.)

Obviously, for those sending files to a film lab or making a "progressive" DVD this is not an issue.

The point is that there are 24p solutions for the Mac and PC that do work -- so those who need to edit 24p can do so. We do not need to wait for either Adobe or Apple.

The point is that there are 24p solutions for the Mac and PC that do work -- so those who need to edit 24p can do so. We do not need to wait for either Adobe or Apple.

Unless you want timecode! Lumiere HD still doesn't record TC, and the AIC method doesn't either. Also, using the AIC method, you can only capture the first 40% of the audio of your clip.
See Nate's thread for more info:
http://www.dvinfo.net/conf/showthread.php?t=53759

Unless you want timecode!

I'm not using Lumiere or Nate's method.

TC is not super relevant since you can always use Scene Detect again in case of the very, very remote possibility your disk crashes mid-project.

I'm only interested in ways folks can use 24p to get a project done NOW and export it.

Apple will eventually solve all problems. But for those of us who bought first gen HDV camcorders -- waiting for Apple would have meant over a year's wait.

So we home brewed our own solutions -- not neat like Apple's would be when it arrived -- but we could get work done with a little bit of work.

AspectHD doesn't even require any special work. And, it does capture TC. So if TC is really a big deal, there is a working alternative to FCP 5.

Our solution is to record the audio separately from the video as well as demux before processing the video to dump the placeholder frames. The video imports at perfect 24 so the timing is correct and the audio syncs separately. Bringing in the audio and the video together is a nightmare and TC is a nightmare.

Liquid 6.1

I'm not using Lumiere or Nate's method.

So what method are you using? Third-party capture card with the BR-50?

My replacement PS arrived for my Blackmagic card so I'll be trying that tonight. But, setting up the DEckLink presets reminded me that I always use analog or optical input with the DeckLink card.

So I tried to create a Capture Preset for FireWire Video using the AIC codec plus analog audio input. Simply couldn't do it. Maybe some else can figure it out.

Then I realized if I simply treated the HD100 as a digital audio tape recorder and captured the audio -- it should work. And it does.

I think one should use a clapper for movie production. But, I laid down a series of Scene Detect captures over the audio and the sync was only a few frames off. Good enough for anything but talking heads.

Next week I'll get all this written up, but now I want to see how I can work with analog component capture.

Using my Dell laptop, AspectHD/MainConcept exported an 6 minute CFHD cuts-only sequence to HDV in 15 minutes. (Note, at this point, the neither 2:3 pulldown nor MPEG-2 Repeat Flags were included. All that's coming soon.)

I was also able to play 4 color corrected clips superimposed over each other. Great performance from a latop!

Does anyone know how to add 2:3 pulldown to a Premiere timeline?