It is nice to see follow-up on an issue, Funky. Thank you.
I just put my first "24 fps" clips into the system and got the same choppiness.
I take it that you mean that even with a 60i preset the 24p nature of the clips will prevail, right?
Or do I have to later export to 24p?
not sure what you're asking. as far as I've been told, the 24fp settings are not true 24 in any way shape or form, they're 60i, plain and simple, with some sort of 24 simulation. following is the email I got from dhelmly - a top gun for premiere development at adobe.
as far as my experience working with the clips for the last few weeks, I'm having great luck working in a 60i non-anamorphic sequence, and exporting in whatever format I choose - mostly h264 mp4. it looks great - I'm very happy with the output quality, although I get a few artifacts when viewing my clips before export. I assume this is due to my system being underpowered (a macbook pro).
regarding drives, I've discovered that the smoothest playback comes when using my laptop's internal drive, followed closely by a cheapo USB2 drive! lastly by any firewire 800 drive, which skips and stutters unacceptably - raid or not. go figure.
"Your camera actually shoots in 60i not 24 frames (23.976) It's really more of an effect than a frame rate. However - you can fake out Premiere to match the Canon effect. Choose the AVCHD>1080P@24 FPS Preset. Import your footage from the Media Browser by dragging the clips from the browser to you Project Bin. Next select a clip and Right Mouse Click and choose Interpret Footage, select the Assume this Frame rate option and change to 23.976 (not 24) and in the same dialog window choose Field Order>No Fields Progressive Scan. Now when you drag the clip the to the sequence it should not Redline and it should give you the 24 frame look. if it Redlines then a setting is off. I tried it here on my mac and the Canon HF10 and it worked fine.Keep in mind that the actual footage is 60i(or 59.94 to be exact). canon and Sony both have these 24 Frame look modes. The Panasonic 150 does native 24 but is much more $$. Always remember to use the Media Browser when working with Tapeless Media. We rely on onthe XML data in those folder to tell us more about the files. More cool stuff coming - lots going on in the lab. AVCHD playback will bet much better as we get to true 64 bit (OSX 10.6 & Win7) and GPU. The next gen stuff I'm seeing in the labs now is totally amazing -I've been hear nearly14 years and a Premiere user for nearly 19 years and I'm blown away - Not due out for while yet but it will be worth the wait. Mac & Win users will very happy indeed."
Hi Funky, and thanks for the quote from the guy.
His suggestion has of "fooling PPro" by interpreting to 23.98 and progressive has the effect of lengthening the video and making it have interlace smears on all the edges. Not sure that makes it worth it for me. I guess it solves the stutter issue of non-rendered program material, but the trade-off is the odd jagged edges -- at least on my system.
I'm encouraged by his projections for 64-bit and AVCHD optimization.
I've not yet decided what preset I'll be using for PF24 material, but your information gives us something to consider.
Anyone else have a workflow that doesn't use pulldown removal prior to editing?
AVCHD playback will bet much better as we get to true 64 bit (XXXXXXXX & Win7) and GPU.
There is no way to trick or interpret PF24 footage in PPro CS4 which will play it correctly. Interpreting it as Progressive helps, but does not remove pulldown.
PF30 footage gives you a red line when imported because it is seen as interlaced. Interpreting it as progressive does the trick and aids playback quite a bit. No 2:2 pulldown removal is necessary.