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Convert 23.98 fps to 29.97 fps
I shot my first commercial using the Cannon 7D at 23.98 fps.
I shot it on spec, and it got bought.
The broadcast station requires it be sent to them at 29.97 fps.
Two questions:
1) How do I convert to 29.97 fps? I’m using an old version of FCP (version 4).2) Will this screw up my picture and audio?
I’m not FCP savvy, so detailed explanation would be really helpful.
Thank you!
Steve -
17 Replies
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[Steve Bralver] “1) How do I convert to 29.97 fps? I’m using an old version of FCP (version 4).”
Do it on output. Send it to a post house and have them do it. Since this is a commercial that will most likely air on TV, you will need a proper online now to make sure that it is up to broadcast spec. An online can do that, as well as output to tape at 29.97
[Steve Bralver] “2) Will this screw up my picture and audio?”
Nope. I do this all the time. VERY common.
[Steve Bralver] “I’m not FCP savvy, so detailed explanation would be really helpful.”
Let a professional deal with it.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Can you recommend a place to do this that won’t charge a gazzilion bucks?
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Where are you located? What format do you need to master to? Output to? Tape? Digital File?
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
• All video should be 29.97 frames per second (FPS) and interlaced.
• The field dominance parameter must correctly match your video interlacing. • No slate or color bars should be included with your movie.
• Audio levels should regularly peak at -12dBFS on the FCP internal audio meters during playback on your timeline. • Video must be “broadcast safe”: Using the internal FCP ‘Video Scopes’, 0% is black level and 100% is maximum white. Both YCbCr and RGB levels should fall within this range using the ‘Waveform’ and ‘RGB Parade’ panes. When utilizing external measurement devices, 7.5IRE is black level and 100IRE is maximum white in the analog realm, while in RGB, black should not fall below 16 (RGB) and whites shouldn’t exceed 235 (RGB).When outputting your commercial in HD via Final Cut Pro, please use the settings below: • Export the sequence as a self-contained QuickTime movie using the FCP default preset: HDV 1080i60 (1440×1080)
Then load file via FTP.
I’m in L.A.
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They want an HDV digital file? Seriously? Did you shoot HDV? Can they take ProRes? I can do the ProRes file, and very cheaply. HDV…that would mean outputting to an HDV deck and tape, and then recapturing that tape.
What an odd spec…
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
[Shane Ross] “They want an HDV digital file? Seriously? What an odd spec…”
Certainly odd for a broadcaster…
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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I just got off the phone with their editor.
He walked me through the process. Looks like we are set.
I went into FCP. Opened Easy Set-Up. Set it to HDV 1080i60. That defaults to 29.97. Then I created a new sequence.
Then I went back to my original sequence in 24 fps. I created a quicktime movie of this sequence.Then imported the quicktime movie, and dropped it into the new sequence.
Rendered. Checked broadcast levels using video scopes. Dropped broadcast safe filter because it was too “hot.”
Rendered.
Then exported as quicktime movie.
I’ll see if it works for them, but it plays fine now at 29.97fps.
Maybe this will help you. Give it a shot.
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Well, that is about the worse way to do it. FCP doesn’t add or remove pulldown properly. Not at all evenly. The footage will jump and have an odd stutter to it. That would be a poor choice, IMHO. And you risk getting rejected by the network/station.
Is your original footage HDV? I don’t think it matters…taking any non-GOP format footage, with a differing frame rate, and putting it into a GOP format (HDV) timeline will garner bad results. Take a GOP format with differing frame rates into a GOP format…dunno…never done this.
The best way would be hardware…output the sequence via a capture card to a deck, or a hard drive recorder (like the KiPro) and have the card remove the pulldown…or ADD the pulldown. it does it properly. Second best would be to use Compressor. But then you are looking at LONG render times.
Do it your way if you want. Just know it is the wrong way. And won’t look as good as it should.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
[Shane Ross] “Do it your way if you want. Just know it is the wrong way.”
Shane is telling you like it is Steve.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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The quicktime files looks fine to me. But I don’t know if it will look fine broadcast on tv.
I also have a hard time telling the difference between good and perfect.
If you want, I can send you a link to it on youtube and tell me what you think.
Also — I’m more than happy to try to do this on Compressor.
I just don’t know how.Regarding my footage: I shot on the Cannon 7D. I filmed at 24 fps. I shot at 1920 x 1080.
Does this information help?
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