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24 frame project to 30 frame project
Is there a way that resolve can export a proper 3:2 cadence pull down going from offline in Avid at 23.978/1080p to 59.94/1080i ? Older threads I have been reading all express the problem of DR only having a 4:1:1:1. There was some mention of a new 3:2 pulldown in version 12.5 that could be done from the Delivery page. I am an Avid offline editor experiencing issues packaging a 24 FPS section into a 30 FPS sequence (numbers rounded for convenience).
Thanks!
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5 Replies
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I’ve had to do this but I rendered it to the original framerate then used Adobe Media Encoder to convert to NTSC.
Worked fine for me.
Sorry, I cant answer your original question.
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I typically leave it at 23.976 until the very last stage. Master at 22.976, then convert the final program (back in avid).
I usually want a 23.976 Master on hand anyway, which is handy for 25 frame conversions as well.I’ve never done a 29.97 or 59.94 master out of Resolve, so I’m not sure how it handles the conversions.
Have you tried bringing your 23.976 sequence into a 29.97 project in avid, and creating a list from there? That might help Resolve with the math.
Glenn
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The tricky part is that I need a 24 fps sequence cut into the 30 fps sequence. The Executive Producer noticed that the 24 fps material within the 30 fps material when broadcast had jitter. I have been on the case ever since and can’t quite figure it out. I read an old thread thread that DR had trouble with the conversion and was wondering if the issue was happening there. Not sure. I can stop the jitter in Avid, but I need the DR file that is colour corrected. We are going to try brining in a 24 fps sequence.
thanks for your response!!
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Version 12.5 and forward do have a working 3:2 23.98 –> 29.97 conversion. It only works when exporting a “Single Clip” as opposed to “Individual Clips” for (what to me anyway are) obvious reasons.
If there is a scene including 23.98 fps clips within a 29.97 sequence, the you would export that entire scene, if what you are attempting to do is re-imbed that scene into a broadcast assembly.
Glenn makes a good point regarding keeping projects at their native frame rate until delivery. I have seen many 23.98-source projects edited in 29.97 (NDF and DF) timelines because the editors could not deal with the clock-time calculations. This is a deadly practice that can close many doors that you want to keep open, and can be a deal-breaker when going to international delivery or DCP, which will also change the actual running time if you have to go to 25 or 24.000 fps. (And then you will also have to re-clock the audio.)
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Very interesting! We will test this out today. Thanks for your help!
Jennifer
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