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prepping mixed framerate project for color correction
I’m finishing a very large project (complicated 90 minute timeline with many cuts and transitions). About half the original source material is telecine from 16mm film @ 23.97 fps, and about half is video that I shot at 30P. I understood all along that FCP 7 is good at handling mixed framerates on one timeline, so I did not think there was any issue with this workflow, but now the person who is going to color correct the film has told me that everything needs to be one framerate. Right now the whole timeline is a 29.97 fps sequence. The 24 fps material is playing back with doubled frames in the timeline. It looks fine to me – the extra frames are not noticeable to me.
I have a few choices, and I’m not sure what’s best:
I could stay with the current 29.97 timeline, convert all the 24fps material to 29.97 (how would I do this? Compressor? Cinema Tools?) and bring it recut all the 24fps shots.
Instead of recutting, I could export 24 clips in my timeline and make new 29.97 quicktimes that exactly match the shots on my timeline, and recut them in.
I could try to rebuild everything on a new timeline at 24fps (which sounds like a huge nightmare – but does 30P played at 24 fps look better than 24fps played at 30? I guess I should pick whichever framerate will look the best?)
I had no idea this would happen… I thought the whole thing about mixed framerate timelines in FCP7 meant I didn’t need to worry about mixing as needed. Any suggestions?
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3 Replies
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Where is it going for Color Correction?
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
There’s not much to go by here, but I will toss out that 30p is an odd duck of a frame rate. 24p, 60p and 60i seem to be the common frame rates wanted for distribution (for 60hz areas at least) so if you make a 30p master for yourself be prepared to make a different frame rate master for other people if you get distribution.
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Color correction will be done with davinci. Resolution is currently prores 1080.
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