j-beat

I have shot 8 rolls tri-x reversal film in the style of a French New Wave film. It'll be edited on a mac in final cut. 1) I'm looking for opinions on the various technologies for the digital transfers, y-front, elmo etc 2) and Labs people have used that that they would recommend. Although the main place the film will appear will be on a monitor in a gallery setting and online I'd like the option of screening it one day - so do not want to lose too much quality. but of course budget is not massive. any help greatly appreciated.

Mitch thanks for helping me out with this --- I more or less get the principle of the pulldown (how the frames are arranged to conform to the interlacing of video) but what I don?t understand is how to SEE the 24PA ? i.e. how to know if it?s there by watching the footage. I get your analogy of the checkers but how does that apply to the footage? When I go frame by frame through what I shot I do not see any interlacing or difference between frames. Is there some way I should be able to see the pulldown or flags? Thanks again for your patience josh

Thanks mitch -- I get you up to a point -- I'm just not exactly sure what you mean when you talk about the "correct starting field". How can I determine that? I've been capturing everything so far (non-dubbed tapes in 24PA) in 29.97fps with the 2:3:3:2 advanced pulldown. thanks again for your help on this.

thanks mitch. I've been told if I dub via firewire I won't use the flags so is it because of the new timecode that I'll lose the flags? And if so -- it seemed from your message that there was still some way to read the flags and extract the pulldown? That so? And how is that done? I'm capturing the footage on a MAC using FCP4 josh

I need to dub some tapes I shot on a DVX-100 in 24P Advanced. I also need to put NEW timecode into these tapes. Does anyone know if the dubbing of tapes with new timecome in any effects the 24PA pulldown? thanks for any help