Hdv Pal + Mb + Ae = ?
 

Ok, so I read the MB manual, and yes, magic bullet only supports: 23,976 -
25 and 30...So if I´m not interested in a pal project with ntsc output (23,976 frame rate), that means that my only option is to apply the AUTO SETUP with 25p; then what does the MB in AE does to a hdv pal project, appart from deinterlace and maybe deartifact??? It worths days of render or exporting???

And other thing, should I export it progressive or not??
And as AE does not have MPG-2 output setting, how should I do, export it as PAL, then throw it in a FCP pal 25p timeline and then export it again via compressor??

Sorry for the avalanch of questions but I´m just another newbie!

p.s
silly question, but which one is the difference between 25p and 25fps???

thanks for your help
martin

What is the end product you want to achieve? It sounds like you don't want either 23.976 or 25, but perhaps I misunderstood.

25p means 25 progressive frames each second

25fps means 25 frames per second, without specifying whether those frames are progressive or interlaced.

25fps interlaced footage (such as a typical PAL DV handycam would produce) is often referred to as 50i.

Thanks for the response. Actually I was wondering which was the advantages of deinterlace and render my hdv pal footage to 25p with MB in AE, when in FCP I also have a deinterlace filter and then I can export in progressive mode...

Cause before I thought that in MB AE we, pal users, could convert our footage to 24p and for a completely pal output project.

So yeah, that basically was my doubt. And also, how should I do to convert it to MPG2, just drop it in a dv pal 25fps timeline in Final cut pro, and then export it via compressor MPG2 progressive???

thanks for you help,
martin

MB is not meant to do 25p-->24p or50i-->25p. It is meant to do 50i-->25p (in PAL areas). The reason you use it over other de-interlacers is that it does a better job (i.e. retains more resolution), this may be disputed of course. On the downside, the render times are also quite long (or used to be, i dont know if they've improved it).
May I ask why you want 24p anyway? Are you planning to make something for the NTSC market or are you doing a film-out? Otherwise it is much better to stay 25p as there is no visible difference to 24p and 25p.

Steven

Steven, I finishied a short movie, I made color correction in MB + FCP,
and now I was wondering if I should deinterlace it and apply progressive to it with MB + AE or with FCP deinterlace filter + export it as MPG-2 progressive for dvd...And yes, actually I´ll stay 25p...

thanks for the info
martin

Hi Martin,

You should only de-interlace if the material is interlaced. what camera did you use? What settings? As to whether you should use MB or FCP de-interlacer, I haven't used FCP, so I don't know. Best thing you can do is try a small clip (few seconds), preferably with some camera-movement or other movement and try both ways to see which end result looks best. Best thing is to put them both on dvd, so you can see how they both look at the end of the chain. Good luck!

Steven

actually I shoot the film with and hvr a1 pal. I already did the footage test you mention, and MB in AE deinterlace 25p (progressive) looks better than deinterlace in FCP and export it as dv pal progressive. In what color correction respects, I´m a total amateur, so in most of the scenes I just put the gamma 3 notches down and sometimes 4 or 5, also saturation 3 or 4 up.--

Now I have to figure out how to open a 25p timeline in FCP, to then import the footage and then export it again as MPG-2 for dvd.

by the way, it´s a petty that I don´t have a deartifacting for pal output, which I think it´s a great feauture, only 4:2:2, 3:1:1. and 4:1:1...

Hey Martin, just use 4:1:1 for the de-artifacter