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shooting slo-mo, editing 24
We are shooting a pilot, using the Panasonic AJ-HDX900, and editing in true 24. Normally our route is:
shoot 24p, captures in camera as 60i, downloads on the firestore as 29.97. We import>panasonic p2 into our FCP 5.1.2 and then proceed to reverse telecine (cinema tools) to edit in 24 (not 23.98).
All has been good until they decided to shoot slo-mo. They shot in 60i and we are now stumped. First of all, we can’t seem to import the footage at either 59.94 or 60. Is that because the firestore is still converting it to 29.97? What step are we missing to get it back to native 60? We downloaded the “frame rate converter” plugin FCP and Panasonic offered. But it firmly states the footage has to be 720p/59.94 and the timeline we edit on has to be either 59.94/29.97 or 23.98 – no 24 and more unfortunately, no 1080???
There has to be a way to shoot 60i and attain slo-mo when putting it on a 24fps timeline, 1080.
Please help. We’re at a loss at the moment.
Thanks so much. -
17 Replies
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How slow do you want to get?
Here’s an interesting take on the ins and outs of using Shake (or Compressor) to do the same:
https://homepage.mac.com/captmench/60iTO24p.mov
The AlexMitchell link isn’t good anymore… but it’s easy to do in Compressor… just use the same idea. Ask back if you need a helping hand though.
CaptM
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As far as I know, the variable frame rate is only available when you shoot 720p And yes, you need to shoot 720p60 or 720p30 in order to get this. And yes, you have to edit on a 23.98 or 29.97 timeline is order to do this.
Why are you going STRAIGHT 24fps? If this is a pilot, it is intended for TV, correct? Only film is straight up 24fps, and when it is telecined to tape it is either 29.97 or 23.98 (depending on the format of tape you telecine to).
But again, in order to get the variable frame rates, you need to shoot 720p.
Shane
Littlefrog Post
http://www.lfhd.net -
We are editing 24fps because the entire pilot is being treated by our vfx team (think sin city) and they’ve asked for 24. We are actually delivering for web download. When we do our TV deal we will export to HDCam24p or HDcam 23.98, depending on the delivery specs.
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Did my post kind of help with the 60i to slow motion workflow? Did it make sense for you to try it that way?
CaptM
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Thanks so much. This is extremely helpful. I am still perplexed as to why 1080 isn’t an option, but what can you do? So, if we’re stuck in 720, we could resize it once it’s done, no? Would the quality be that compromised? And in your tutorial, you had a 23.98 timeline. We’re editing in 24, not 23.98 – will a 24 timeline work? Is there a work around to get it to 24 if not?
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Not sure about the 1080 bit… a bit over-kill for what I do, so I’ve never ‘played’ with it or wondered why it wasn’t there.
Yes – 24 is an option over 23.98. I just chose that, again, because it’s closer to what I do. For my example in Shake it’s just a matter of typing in 24 over 23.98 – in compressor you MIGHT have to force feed it the number if it doesn’t come up on the pulldown options (I forget if it does or not) but that just means typing it in by hand… no big deal.
But either way, Cinema Tools will conform the 60 to 24 regardless. It just counts frames.
You must have been typing the above when I rudely posted my below. I’ve been curious to see if this was actually helpful – didn’t mean to scare you into a reply.
CaptM
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[kerrymcd] “We are editing 24fps because the entire pilot is being treated by our vfx team (think sin city) and they’ve asked for 24.”
Kerry
watch out – most 24p post is done at 23.98 NOT 24.0 due to the audio issues and so that you have the ability to downconvert the footage in realtime to SD.
Secondly your HDX 900 camera you are shooting on only shoots at 23.98 NOT 24.0
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
Interesting though by Gary down a few posts…
Never thought of it that way… dbl check your requirements before attempting anything in 24… even if it CAN be done… sometimes it SHOULDN’T.
hee
CaptM
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not at all! I replied first before I read your second one! I will keep you informed will our workflow if you’d like to know how we cope…
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Ya, I know and we discussed it, but the VFX team specifically said true 24, so we went along with it. Perhaps they wanted it as such because during their process, it will be converted to 23.98 as our final output. And really, up until now, the footage in a 24 timeline has been fantastic. Adding the slo-mo into the process has only now shown it’s limitations.
As for the camera, our DOP keeps saying true 24p, and our HD tech says 23.98 and it’s also tough when everyone throws around 23.98 and 24 as if they’re the exact same thing. In hindsight, if I did this over again, I would set up our timelines in 23.98, but hindsight is 20/20. In the situation we’re in, 12 days into a 20 day shoot, we’re trying to find the best solutions.
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