-
Workflow with Mixed Frame Rates for Filmout
Currently finishing production on a feature documentary geared for filmout and trying to figure out the easiest way to off-line the project and log before main editor is brought in. The difficulty is that there is both 24p footage (70%) and 60i footage (30%) and will be cutting in a 24p timeline. We want the 60i footage to look like video. My main questions is how to convert the 60i footage easily so when we re-capture for the online there is not an issue with the timecode/edl. Can we capture the 60i to a 24p timeline? Or do we have to convert all the 60i tapes to 24p? And if so, what’s the best way of doing this (i.e. Teranex, Shake, etc.)?
Are there any lower cost NLE’s that allow for mixed frame rates in the timeline?
-
4 Replies
-
You can’t have mixed frame rates in a final output of anything, and you certainly can’t have mixed frame rates on film. Film is projected at 24fps. That means that everything in that film is running at 24fps. Everything you have must eventually be converted to that frame rate by definition. Whether you do that before putting it into an editing timeline or not is up to you, but ultimately it’s going to run at 24fps, so you’re much better off getting it to that frame rate as early in the process as possible.
-
I’m going to amend what I just said.
If you ***really*** think this is eventually going to be recorded to film, everything I said applies. If, however, your immediate product is HD video, and film is one of those “if I ever get the money” things (i.e., it will likely not happen – and if I were you I would try to honestly assess this), then 1080i is your answer. Convert everything to 1080i and your video will still look like video, and your 24 frame material will still look like 24 frame material (it will use 3:2 pulldown and maintain the “24p” look).
-
Thanks for the advice but you didn’t really answer my specific questions.
And keep your idiotic opinions about projects you ***really*** know nothing about to yourself.
-
Yes, I did answer your question. I suggested getting everything to 24p as early in the process as possible. That means converting it prior to offline to some kind of 24p format – i.e., an HD format – then downconverting that to use in the offline. I also offered an alternative that would be a useful way to avoid the issue entirely -making the entire project a lot simpler – if your project was primarily a video finish, and considering you’re asking these questions on an Internet forum, the fact that many projects discussed in these forums never get to film becomes relevant, whether yours fits into that category or not. I wasn’t expressing any opinion on this, I was simply offering alternatives. In other words, trying to be helpful.
So please keep **your** idiotic opinions about people you don’t know to yourself.
Reply to this Discussion! Login or Sign Up