Converting 23.98 to 29.97 via pulldown

[Jeremy Garchow]

[Chris Stinett] ” I also have footage that is in 720/24p – 29.97.”

Do you mean 720p24 over 60? There is no 720p24 – 29.97. Can you please explain? Did you mean you didn’t shoot 24pN?

Jeremy

[Chris Stinett]

“Do you mean 720p24 over 60? There is no 720p24 – 29.97. Can you please explain? Did you mean you didn’t shoot 24pN?”

I have 720/24p over 60, already in FCP at 29.97, for editing…because that’s going to be the editing timebase, 29.97. I can transfer it over again and keep it at 59.98 or 59.97, 59.98…yeah, but anyway…

I also have 720/24pN that is at 23.98 that I’m trying to pull to 29.97 using pulldown, which I have done before on a different project, and also a different machine, I forgot to mention that. That is what I’m having trouble with. All the footage that was shot in standard 24p over 60 is fine, no problems, it’s the native footage that won’t transfer…

I just want to make this known, It could just be doing something REALLY stupid that I’m overlooking, it’s happened before. ANY help would be welcome.

I’m not a complete moron, some parts are still missing.

[Jeremy Garchow]

Why is 29.97 going to be the editing timebase? I don’t get it.

If I understand you correctly, you have to 24pN footage, you have some 24p over 60 footage.

WHy not just edit @ 23.98 and put your 24pN over 60 footage in your 23.98 timeline? Or if you want to, you can rebatch capture the 24p over 60 footage via log and transfer, just make sure to turn on the option that removes duplicate frames/advanced pulldown in the log and transfer preferences.

If you need some sort of 30 frame based timeline, I’d edit your timeline 59.94. That way, your 24p over 60 footage will play just fine, and your 24pN footage will get the proper pulldown added by FCP in the timeline itself (720p is the only format in which FCP handles the pulldown properly).

Wanna tell me some more about why you want a 29.97 timebase?

Jeremy

[Chris Stinett]

“Wanna tell me some more about why you want a 29.97 timebase?”

I’m doing this for a class at film school, and the professor wants all projects on a 29.97 timebase. 29.97 is always the default timebase we work on, PLUS, I’m comfortable with 29.97, that’s what I always edit on. But at this point…I just want to edit, because I’m falling behind and don’t want to be in post for 6 months, I like to edit as I go.

so, In short….for me….

I just want to edit my footage, put it together, get the final product onto DVD and DV tape, (which is 29.97) at this point I don’t care what I edit on (rather it be 29.97, but I’ll take what I get), I just want the footage to match and not jump in any way. (Frame rate/resolution and all that jazz) And not have problems when I want to send it out.

Now that that is all said, final question, any tips on the original question?

I’m not a complete moron, some parts are still missing.

[Jeremy Garchow]

[Chris Stinett] “Now that that is all said, final question, any tips on the original question?”

Yeah dude, we are getting there and you have been totally missing the point.

You should edit @ 23.98 as that’s the frame rate you have shot. If you need to edit @ 29.97, then don’t shoot 23.98.

You can easily get to 29.97 (or 59.94 in 720pHD as there is no 29.97 in 720pHD except in the computer) from 23.98 by adding pulldown on output, which FCP does anyway. For DVD you don’t need to be in 29.97, but you can make a 23.98 DVD and any dvd player will be able to play it back on a 29.97 NTSC TV as it’s built in to the DVD spec. Many Hollywood movies are encoded @ 23.98 for DVD.

If you need to output to DV and don’t have a capture card such as a Kona3 or Lhe that can down-convert and add pulldown in real time, you put your 23.98 Hd movie on a 23.98 Dv SD timeline (not a 29.97 timeline because FCP will render out improper pulldown), then output via firewire and FCP will add the CORRECT and necessary 3:2 pulldown on output. But I bet your film school professor knows all that, right?

Jeremy

[Chris Stinett]

I feel like I’m a retarded monkey now.

“How do you know all this stuff?

‘Dude…I don’t know, there’s a lot of stuff rolling around up there.'”

I have a new strategy now, do what you say to do.

Hopefully you won’t hear from me again, for your sake of sanity. Thanks for your help!

I’m not a complete moron, some parts are still missing.

[Jeremy Garchow]

[Chris Stinett] “I have a new strategy now, do what you say to do. “

It’s not like that at all. It’s about doing the right thing in the early stages of post production, otherwise it will just cause problems and give you headaches down the road. It is those posts, the ones where the original poster is so far down the road of improper workflow that the problems get compounded and harder and harder to solve when all that would have saved them in the first place is to start with the right sequence settings. I am far from always right, but at the very least you should at least start down the path of understanding these different workflows by actually trying out someone’s advice before dismissing it. And ask questions, don’t give statements, that’s important too, that includes questioning authority.

[Chris Stinett] “Hopefully you won’t hear from me again, for your sake of sanity. Thanks for your help! “

Write back anytime. I hope to hear from you again. This stuff isn’t exactly straight forward as you know.

Jeremy

[Gary Adcock]

[Chris Stinett] “”How do you know all this stuff? “
Chris

it is your professor that is stuck in the dark ages, with HD you edit what you shoot at.

the easiest way to think of HD is to work at 60i or 60p (a 59.94 timebase)

FILM or HD shot to mimic film is acquired at 23.98 (NOT 24.0 or 29.97)

Why not ask your professor why the frame rate at 29.97 is for an SD like deliverable and considered by many not to be the requirement Film style edit- especially when those are usually shot at 24p (23.98)

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

Inside look at the IoHD

[Quincy Boardman]

Sorry to interject… I just have a quick question… I’m authoring a dvd w/ mixed media that has to be out by tomorrow. 23.98 HD and 29.97 SD material. Both edited in FCP 6. From reading around the web, it seems like the best thing to do would be to send it all out on a 23.98 timeline… here is my question, can we export our 29.97 sequences as they are and then bring them back into FCP and just drop them straight into our 23.98 timeline? Or do I have to do some conversion of some sort? CONFUSED!
What do you think Jermey?

THANK YOU THANK YOU!!!!

[Jeremy Garchow]

DO both of these sequences have to be married or are they spearate sequences (one 23.98 and one 29.97)

Jeremy