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frame rates… shoot/edit @ 23.976, deliver 29.97
I’m just looking for some clarity on how to best handle different frame rates between AE and FCP 5.1.4.
I have HVX200 footage shot at 720P, 24PN. I thought this would give me true 24fps, but it seems to be 23.98 in FCP (23.976). I’m editing at 23.98 FCP (23.976), but I will need to deliver this as standard D1, 720×486, 29.97 interlaced for broadcast.
This is where I get confused. I’m using some of this footage in AE to create the intro, transitions, lower thirds, etc. I’m wondering when is the best time to convert to 29.97?
Should I create comps at 23.976 in AE to match the footage, then output at 29.97 with fields? Or should I output at 23.976 and convert it somewhere else? In other words, should I edit and assemble everything at 23.976 and convert the entire edit to 29.97 when it’s all done? If so, what’s the best way to convert the entire piece to 29.97 interlaced?
I’ve also been given a pre-shot sequence at 29.97 interlaced, that will need to go into the final edit.
Any tips on this will be greatly appreciated..
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8core MacPro, 3.0 GHZ, 10GB RAM, OSX 10.5.2AE CS3
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4 Replies
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Hey thanks for the help Dave, I knew I could count on you 😉
I don’t have a Kona card, but the final edit will be laid to Beta at a local post house. So with what you said, I could really give him the file at 23.98 and he can convert it to 29.97 when he prints it?
Also, something about changing frame rates and the word “broadcast” makes me a little nervous. The pre-shot sequence is a music video and I certainly can’t have any weirdness going on with the cadence, so I have to make sure I get this right.
In theory, could I convert my final 23.98 edit to 29.97 and then edit in the pre-shot stuff? If so, would you recommend Nattress for that? That way I could use the exact footage they gave me and if something came up wrong, it would be their fault 🙂
I’ve only had a couple shows broadcast, hence the apprehension.
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8core MacPro, 3.0 GHZ, 10GB RAM, OSX 10.5.2AE CS3
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I think this depends on how picky you are about quality. I would follow Dave’s 1st suggestion and do everything at 23.98 and master to whatever HD deck you have. Then send it to a post-house for a proper downconversion. I might get pounced on for this but I do have a Kona 3 and whenever I need to do a downconversion for broadcast I send it out to a facility with a teranex or something similar. The Kona 3’s downconverts are quite sloppy.
Joey -
Hi, Dave. I noticed that this post is a year old, but I’m doing nearly what is described at the moment and I just installed a Kona 3 card for this job (usually use the io HD). If my timeline is 23.98 and I’ve used about 1/2 23.98 RED footage and the other have is 29.97 loaded from HDCAMs (transferred from 16mm film).
So, if I finish my edit in 23.98 (with added keyed backgrounds in After Effects) and output to HDCAM at 29.97 using the Kona 3 conversion, will the 29.97 footage that is already existing in the edit translate properly to the HDCAM master?
Thanks,
Eddie -
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