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24fps footage on 30fps timeline and vice versa
Someone please bludgeon me with their knowledge on this dilemma. I have a wedding video to edit and the majority of the footage was shot in 29.97fps and the rest was shot in 23.976fps. I created a timeline from each clip and pulled the ‘other’ frame rate footage onto the timeline to see if I could see a difference and I don’t think I’m seeing one.
Can someone please explain what happens when a 30fps clip is on a 24fps timeline and vice versa in Premiere Pro CC 2014? I’m assuming that when a 24fps clip is on a 30fps timeline that some frames are duplicated and when a 30fps clip is on a 24fps timeline that some frames are removed. Can someone please confirm if this correct? What is the best way to handle this situation and does Premiere Pro CC handle this situation differently than it does on Premiere Pro CS6?
Curious too if this affects audio at all that was captured on camera. Thank you to anyone willing to take the time to give some info on this.
-Erik
Aspiring Video Beast -
5 Replies
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[Erik Hill] “I’m assuming that when a 24fps clip is on a 30fps timeline that some frames are duplicated and when a 30fps clip is on a 24fps timeline that some frames are removed. “
Pretty much this, yep.
[Erik Hill] “What is the best way to handle this situation”
If the cadence change looks good and your wedding video isn’t going through some extensive broadcast quality control I wouldn’t change the framerates.
You can change the clip’s framerate by going to the interpret footage panel. Mind that if you do this the duration of the clip changes to fit the new framerate so 24 at 30 goes faster and 30 at 24 runs longer.
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It’s literally impossible to play at 23.976 file in 29.97 timebase. That’s like saying “if I go 50mph, I am really going 55mph.” It’s impossible because of what things mean and how they are. In some contexts, we manipulate different timebases and playback to create overcrank or undercrank. Mostly, though, the computer assumes editors want persistence of vision, so it will render the clip to whatever the sequence settings are. There are literally more frames of picture at 30fps than there are at 24fps. So the computer has to play that bit faster. When footage is interpreted, then the audio associated with that particular clip will also be interpreted. It will playback either faster or slower. It’s probably unwise to deliver a wedding video of the bride and groom sounding like chipmunks.
Premiere helps us out. In the sequence area, just below the timecode marks, you will see a red, yellow, or green bar.
Red means “this footage needs to be rendered.”
Yellow means “this footage does not need to be rendered but it is processor intensive.”
Green means “this footage is rendered and export will be quick.”We always want green render bars. If they are not green, then render the sequence, and you will create NEW MEDIA of the correct timecode.
Since you will be making new media anyway (the render files of the time code), it is BEST PRACTICE to transcode first.
If you have any sync sound (like exchanging vows or first dance, etc) then use the A camera footage as your sequence. That means, all the footage that is not in that exact format needs to be transcoded to that exact format of the A camera..
This is a relatively painless process, but it can be shocking because your amount of media is about to double (but again, it will double anyway because you will make renders of it all anyway, and if you do any color correction you will make renders of the renders and so on).
TRANSCODE FIRST USING ADOBE MEDIA ENCODER. If you’ve already started cutting. Stop. Transcode.
Here’s how:
1. Memorize, write down, or screen cap the target codec from Premiere’s Project Pane.
2. Open Adobe Media Encoder. In the bottom right is a window called WATCH FOLDERs. If you can’t see it, then turn it on in the window menu.
3. Hit the + button and navigate to a place on your media drive (probably in the same folder as your project)
4. The drop down arrows allow you to chose the EXACT FORMAT from step 1.
5. From the finder/explorer, drag 1 and only 1 (for now) of your original media into the newly created watch folder. (Open Adobe Media Encoder, if it isn’t already.
6. In Premiere Pro, use the Media Browser to import the newly transcoded files into Premiere and compare their settings. If you did everything correctly, then the settings should all match. Right click a piece of the targeted media and choose “New Sequence from Clip.” It should be either green or yellow. We can live with yellow. Then add a file from the newly transcoded footage into the sequence. It should also be yellow. If it is red, something is mismatched, and you’ll need to transcode again. When you have the settings correct, drag all that footage to the watch folder.
7. Grab some lunch while the footage transcodes.
8. It all lands in the output folder, so now Media Browser that folder into Premiere.Believe it or not this is an overview. Haha! So if you need more detail, just ask, and I will post pictures.
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In your opinion, which codec works the best in Premiere Pro. I want to follow your advice and transcode first, but I don’t know which codec is best. I shoot primarily with DSLR cameras and have mp4 files, I’m guessing they are H.264. I have heard mpeg is good.
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I wonder if you could use 60p (59.95fps) as your base project framerate.
The 30fps footage simply has every frame doubled.
The 24fps footage then can use 3-2 pulldown (i think).
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