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trouble with framerates
I am working with footage I shot on the DVX at NTSC 24p [with pulldown(29.97)].I feel like whenever I change the frame rate (from 29.97 to 23.976) in the composition in AE sometimes the video clip (29.97) hits the wrong frames and only shows two of the four frames. My purpose in changing the comps framerate in the first place is because when I animate the clips the animation looks like VIDEO 30fps and the footage looks 24p. Am I making sense?
So I try making the comp 23.976 but the footage, half of the time, doesnt sync right and it fires at the wrong frame. It fires the dup frame and I only see two frames. Im stumped. I dont want to render at 29.97 and then re-render it out again at 24p just so the animation matches. Suggestions? Thanks, Yall!
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5 Replies
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1. apply a reverse telecine to all the clips manually because it will have to be applied on each individual clip instead of in a batch if you didn’t black stripe your timecode to tape first.
2. wrong pulldown in interpret, you did 24p not 24pa advanced in camera record mode and have cadence backwards 2:3:2:3 or 2:3:3:2
3. your computer is on fire and melting.
fyi.
just a friendly reminder…When you plan a transfer to film or HD, DO NOT use 24P, use the 24PA. regular p is dumb and used for traditional video fakery look. eww.
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Thanks Chris.
Got it. 24P = bad.
My only set back with that is, the clips I’m animating are exported out of FCP in a long sequence. Not individual. Should I do a reverse telecine in FCP?
As far as keeping my footage looking the best: My process so far is exporting the clips from FCP as is. Separating fields in AE(lower first), animating in 29.97, then exporting from AE at 29.97 and adding the lower field in the render queue. Is that dumb? Do I need to watch some tutorials, or does it sound like I’m on the right track?
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with the hvx you should shoot to 24pN (the n is ‘native’ which means you will have record the 24 unique frames, no pulldown). this works well when shooting to p2 cards, but you may or may not be able to record that way to a firestore, you’d have to check… but recording only the 24 unique frames per second will simplify your workflow and save some drive space (20% smaller files).
now, since you have 24p (at 29.97 with pulldown) in fcp, you be wise to remove the pulldown prior to any editing… fcp should be able to do this, and i think it can do this at capture (or import in your case). check the manual or the fcp forum for workflow tips with 24p footage/projects.
if you work that way, everything becomes very easy… when you export clips to ae, the will be 23.976 (fcp calls it 23.98), you will work with 23.976 comps, animations will be 23.976, renders will be 23.976, importing those into fcp at 23.976 and edit in 23.976… no interlacing, no pulldown problems… easy. then, if you need to get it up to broadcast rates, you can add the pulldown to get it to 29.97.
also, if you ever needed to pull clips from the final piece (after the pulldown was added or from tape) the pulldown will be consistent and it will be a breeze to remove it and work with the progressive footage.
Kevin Camp
Senior Designer
KCPQ, KMYQ & KRCW -
ooops, i misread dvx as hvx… disregard the first portion of my response about 24pN…
sorry for any confusion.
Kevin Camp
Senior Designer
KCPQ, KMYQ & KRCW -
Thank you Chris and Dave! Priceless info. I’ll get to work.
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