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59.94 frame rates causing problems in 23.98 timelines
I’ve hit a snag with an HD DVCPRO 720p project in which I have both 59.94 and 23.98 material. Sometimes, the 59.94 material cuts perfectly into the 23.98 timeline. But sometimes it doesn’t, resulting in a ’12fps look’ – a stuttering image. This can be visible on the timeline, but not in an exported fullrez movie, or not visible in the timeline, and only visible in the exported movie. Jogging a few frames and overcutting can help catch it on the right cadence, but it’s unreliable and you can’t be certain it’s worked until you’ve exported a clip. Recapturing the 59.94fps media at 23.98fps is not possible in FCP. I could digitise new media at 23.98 but then I have to overcut and also will lose existing selects sequences and markers. The same is true of the other way – cutting the 59.94fps media into a 23.98 timeline, set TC to start TC of master clip, exporting as new media, then using that new 23.98fps media.
Have I exhausted all my options? Do I have any other useful routes of inquiry? Shane’s been helping me with this over at the Apple forums, but I thought it was time to throw it into a more battle-hardened genetic pool…
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10 Replies
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[Philip Owens] “I’ve hit a snag with an HD DVCPRO 720p project in which I have both 59.94 and 23.98 material.”
OK. Give me a bit more background on the footage.
When you say 59.94 and 23.98 is it DVCPro HD tape or p2?
Was the footage shot 23.98 and captured 59.94 or was it simply shot 59.94 with no 23.98 flags?
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HD DVCPRO tape, not P2. Everything shot at 24fps on the Varicam, flagged. Most of the material 23.98, but some material was digitised at 59.94.
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This is from tape.
We had this issue crop up a month ago. An entire segment was shot 59.94 when the rest of the show is 23.98. Shot with the varicam, and it had the 24p look, but it was 59.94…although one interview was 59.94 and smooth…so not 24p. And we’d cut this footage into the timeline and sometimes it’d be choppy as hell, and sometimes not. We’d adjust our in point by 2 to 3 frames, recut it in and it would be fine. But still 59.94. Even a recapture didn’t help.
BUT…we got it all worked out. Show has since been sent to the colorist and back. But Philip here has issues still.
Shane
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And your problem is the same as Phil’s then?
Two other options I can think of.
-Recapture the 23.98 stuff to 59.94 (won’t have the same temporal motion, but the frame rates will now match making it easier to edit and there won’t be the weird renders).
-Retime the 59.94 to 23.98 using Nattress or Compressor.
ok, three
-Retime the footage by sending it out to a teranex or similar facility.
Over cutting is going to be necessary at some point.
Jeremy
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I’m not sure if our issue was the same. It sounded similar. 59.94 stuff that was supposed to be 23.98 but wasn’t, then looked like 12fps. Cutting in differently worked for us. But our ENTIRE segment was shot that way…hours of footage.
I like the compressor idea. We used that with all of our stock footage that I upconverted from SD. Best part…original timecode retained.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD now for sale!
http://www.LFHD.net
Read my blog! -
“Best part…original timecode retained”
I think that warrants a Jobsian “Boom!”. This may be my answer – again, thanks Shane. How do you ever get any work done you’re always so busy helping bozos like me?!
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Then a recapture will be best, that way you don’t have to retime.
Yes, the tc does usually hold up with compressor, but if you are retiming it, it will change it.
Jeremy
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NO work getting done today. My machine cannot connect to the XSAN…been offline all day.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD now for sale!
http://www.LFHD.net
Read my blog! -
[Philip Owens] “Ah, right. OK, back to tape then.”
Just be sure to select the proper capture setting in the log and capture window this time.
I’d test a clip or two to make sure you got it right.
This method will be much easier and cleaner than using compressor as you shot it irght in the first place.
Shane’s problem was a bit more dire.
Jeremy
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