AF100 + Atomos Ninja 1 + Premiere Pro

[Angelo Lorenzo]

You need telecine, the process of converting a progressive 23.976fps video to 29.97 fps interlaced, aka 59.94 fields per second interlaced.

[Jimmy Ji] “My question is what method do you guys recommend to reverse – telecine the footage if I’m shooting at 24fps?
Does MPEG stream clips achieve this?”

Again, I think you’re talking the process of telecine. If you drag a 23.976 or straight 24fps clip into a 29.97fps interlaced timeline, Premiere will automatically add a 3:2 telecine pulldown.

People need to stop using MPEG Streamclip. Over used and leads to issues where users may recompress and lose quality in their files. It’s a sledgehammer in most situations.

[Jimmy Ji] “I also edit on Premiere Pro CC/CS6 I know that the most of the sequence settings are just presets, and that I can just custom edit a sequence but do you guys recommend anything in particular to set?”

If you don’t know what you should set your sequence to, set it to whatever format your final published video needs to fit. This is also known as the “deliverable specifications”. As a fun fact, all web deliverables should be progressive scan. Speaking to the above, since telecine results in an interlaced file, Premiere will do simple deinterlacing when exporting an interlaced sequence to a progressive export format.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
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[Jimmy Ji]

Thanks for the response.

Let me clarify.
I shot at 24fps on the AF100 but it outputs 60i to the Ninja via HDMI.
I just want to be able to get the 24fps back now.

I just do not know the steps to take or exactly what program to help me achieve this.

[Angelo Lorenzo]

Drag your 59.94fps interlaced clip into a 23.976 progressive timeline and reverse pulldown is done automatically.

If you notice any cadence or blending issues it may be because your camera isn’t sending a properly pulled down signal to the Atomos recorder

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter

[Jimmy Ji]

I hate being the guy always asking questions.

So the 60i becomes 29.97 in premiere.

I drag the file into a 23.976 timeline and obviously I have to render it, but there has to be a way to just do a batch process for all of these clips I have.

Perhaps I do have my settings wrong, but the camera is at 24fps. I could be doing something wrong though I will check again soon with the camera.

So there is no need to “interpret” footage?

[Angelo Lorenzo]

[Jimmy Ji] “So the 60i becomes 29.97 in premiere.”

No, 59.94i is still 59.94i. Do not reinterpret the footage in any way. Do not change the field order to progressive, do not conform to 29.97 or 23.976. Do not touch it. It should be 59.94i, assuming your camera and recorder are properly recording the pulled down signal.

[Jimmy Ji] “I drag the file into a 23.976 timeline and obviously I have to render it, but there has to be a way to just do a batch process for all of these clips I have.”

In Adobe Media Encoder, set up a batch. If the input is 59.94i and the output is 23.976p then it will perform a reverse pulldown. AME works with the same rules as Premiere.

[Jimmy Ji] “Perhaps I do have my settings wrong, but the camera is at 24fps. I could be doing something wrong though I will check again soon with the camera.”

Certainly a possibility. I shoot mostly with the RED Epic and Arri Alexa so rarely do I work with external recorders or the AF100 in particular. I can’t comment much on how the camera is behaving in this situation.

[Jimmy Ji] “So there is no need to “interpret” footage?”

Don’t touch it. 59.94i onto a 23.976p timeline, let Premiere handle the rest.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter

[Jimmy Ji]

Thank you so much.

Everything seems to look fine after rendering.
But the footage I am using is hard to tell if there is actually a visual difference.

I’ll try the batch process with Media Encoder as well.

I’ll just continue to use this process for now, and see how other tests look as well.

[Jimmy Ji]

Sorry one last question.

So when I am in Media Encoder I am originally shooting as ProRess HQ on to the Atomos….is there a lose-less way to day this pull down method?

[Angelo Lorenzo]

No, you are creating entirely new frames and it will be lossy, even back out to ProRes.

The fact that you’re currently ProRes makes me wonder if you have an underpowered computer; not like Premiere to force a render (red timeline) for such a simple operation.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter