24p to 23.98 conversion

[Shane Ross]

24p can be 23.98. Or it can be 24p over 29.97… is it 24p over 29.97? If so, then just reverse telecine it in Compressor or Cinema Tools.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Joel Fisher]

It’s 24p footage that we need to cut at 23.98, along with everything else. Final delivery will be 23.98psf HDCAM SR.

[Shane Ross]

24p isn’t specific enough. 24p can be 23.98, it can be 29.97. Is the footage you have 29.97? If so, reverse telecine it to 23.98 to match.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Joel Fisher]

Yes, I’m sorry. We’re trying to get ahold of one of the clips before the videographer converts and delivers everything to us to save everyone potential headaches.

However, for the sake of argument, let’s say they shot it as 24P… it’s AVCHD, 24P (don’t know what all the framerates of those cameras are, these days, but perhaps a 24pN?)

So do we need to run a conversion on it to make it have a proper cadence when playing back at 23.98, or can we simply cut the 24P footage on the 23.98 timeline without any framerate conversion, pulldowns, pushups, jumping jacks or anything?

Also of interest, in Final Cut the footage comes up as 24P, as opposed to everything else, which is 23.98. Don’t know if that sheds some light.

Thanks a lot, Shane.

-Joel

[Jeremy Garchow]

I’d be willing to wager the footage is 23.98.

[Joel Fisher]

I don’t think so. Everything else in the bin within Final Cut is listed as “23.98”, while the test clip we have is coming up as “24p”. Now, is it not true that some Panasonic cameras (this was shot with AVCHD codec) have the option to shoot at a solid true-progressive 24p? (i.e. the HVX200, which was capable of 24pN… 24 true-progressive frames, yes?)

So, is it a problem to mix some “24p” on a 23.98 timeline with 23.98 assets? If so, how can we fix this videographer’s footage? All other camera operators on other days shot XDCAM 23.98 with the Sony EX1 and EX3.

If there is no conversion option, and the 24p is left as-is, will this be a problem for 3rd party broadcast QC, in the end?

Please do let me know if there is a solution for 24p to 23.98. I know 23.98 is often referred to by some as 24p. But can’t we agree “23.98” is technically “23.98psf” (which, according to my understanding is an interlaced format, more closely akin to 29.97/59.94?) and that if Final Cut is differentiating on the framerate within the bin, perhaps it’s recognizing a difference?

Thanks a ton!

[Jeremy Garchow]

The hvx NTSC version only shoots 23.98, even though it’s called 24pN. The codec might be called 24p. Find the the ‘vid rate’ or frame rate colby in the browser.

Dollars to doughnuts it’s 23.98.

Make a new sequence, drop that clip only in the timeline and hit yes when fcp asks to match the timeline to the clip. Then hit command-zero and check the frame rate of the sequence.

[Jeremy Garchow]

That’s column, not Colby. Dern iPhones.

[Gary Adcock]

[Joel Fisher] “So, is it a problem to mix some “24p” on a 23.98 timeline with 23.98 assets?”

OK.
It has been mentioned that 24p is considered to be 23.98 in North America.
if its not 23.98 it is 24.0 and that frame rate is considered “24 true”

if you need to CONFORM between these 2 frame rates

Open Cinema Tools
File open your video clip
Little button at bottom right of open file window says ” conform” – Click it.
choose 23.98.
click OK.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Joel Fisher]

Gary, you’re absolutely right. It did come up in Cinema Tools as “24.0”.

Upon conforming to 23.98 in Cinema Tools the “Aud Rate” column in FCP goes from 48.0KHz to 47952Hz… is the video being slowed down ever so slightly to 23.98, affecting the pitch of the audio and everything? If so, is this the only and best workaround for footage that was shot improperly?

Thanks a ton, everyone!