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30p to 24p chaos…and semi-solution
Like others before me, I’ve just been through the 30p dilemma. Will try not to get too involved in face-palming for ever choosing to shoot in this format, but I can offer up a semi-solution for translation to 24p (23.976)
Bring your footage into After Effects, and interpret your field interpolation to none; (despite the fact that 30p implies progressive, AE will occasionally automatically interpret the frames as interlaced).
Create a new comp that is the same resolution as your footage, but make sure the frame rate is set at 23.976.
Drop your footage in, activate frame blending (on both the footage layer AND the comp), and you’re good to go. No time change is needed; by dropping the 29.97 footage into a 23.976 project, AE automatically does the conversion, and frame blending will eliminate the stutter in the footage when you go back out to 23.976.
A caveat to all the experienced folks who are likely starting to cry foul – yes, there will VERY likely be additional cleanup needed. AE’s pixel motion engine will frequently give you reality-warping and image smear, especially with fine detail or high motion footage. Those will need to be cleaned up with the usual VFX roto and paint tricks.
This isn’t a magic pill by any means, but it is a decent initial technical way of converting 30p to 24p. I had great success using this trick for a bunch of talking head interview footage (with little motion and minimal fine detail/contrast).
Mac Pro 2×2.8 QuadCore; 6GB RAM; FCStudio2; Adobe Creative Suite 4 Production Premium
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5 Replies
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Aw, come on, Dave. I can never tell if you’re playfully ribbing or rolling your eyes.
I offered up the suggestion in this forum as an AE fix for a problem that we all can agree should never have happened in the first place. Whether working with legacy footage in a current project, needing to uprez/upconvert to a more standardized format (HDCam, etc), or simply dealing with a camera op who wasn’t paying attention on shoot day, 30p floats around.
And sure, I’m aware there are other hardware and software solutions to dealing with the frame rate mismatch. I don’t claim this to be the only solution, but simply one option.
One thing we certainly WILL agree upon – better planning in the first place to AVOID frame rate mismatches is always the best option.
Mac Pro 2×2.8 QuadCore; 6GB RAM; FCStudio2; Adobe Creative Suite 4 Production Premium
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You may want to render the footage separately between cuts to avoid weird warping at the cuts.
But aside from that, as you might guess, success depends on the content of the footage.
If AE doesn’t do it well, Twixtor might. -
just wondering, why would you want to, or have to change 30p to 24p. i hope it’s not something goofy like “it looks more like film”.
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The best way to ‘make something look more like film’ is to shoot film.
The 30p to 24p conversion is useful for projects when sourcing from mixed media, and the end goal is something like a 23.976 HDCam.
Mac Pro 2×2.8 QuadCore; 6GB RAM; FCStudio2; Adobe Creative Suite 4 Production Premium
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I’ve tried just about every recipe there is and mine is absolutely perfect in smoothness. Try it for free.
if you want smooth 24 fps and not jerky 24fps then try this
29.97 interlaced to 23.976 progressive
use magnum to split cuts first…
1.Put 29.97i video in new 59.94 “start” comp so that timewarp can access both fields.
2. add effect->time->timewarp speed at 60.545403%, filtering extreme,vector detail 20
3. make new “output” comp 99 fps and drop “start” comp inside it with timestretch 60.545403%
4. output “output” comp with separate audio layer from original video at 23.976 fps fields off. add motion shutter blur if desired.tested and works well.
https://technicolorsoftware.hostzi.com/
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