What’s the best/fastest way to proceed?

[Shane Ross]

You’ll need to use Cinema Tools to convert the 24fps EDL to a 30FPS EDL. FILE>EXPORT>EDL Conversion.

Shane

Littlefrog Post
http://www.lfhd.net

[Sean Oneil]

How did you capture it? If you used a Kona or Blackmagic, the timecode will still be 29.97 TC even though the video is 23.98. Jog through it and double check to see. So EDL conversion may not be necessary.

[Pedro Miguez]

I did a batch capture on FCP at 24fps when it should’ve been 29.97.
Either way, I just found out I’m stuck recapturing everything manually because for some reason, which I still haven’t been able to figure out, the timecode on all the captured clips is completely and utterly off with the timecode of the source.

[Gary Adcock]

[Dave LaRonde] “all 24pa timecode becomes non-drop-frame (presumably on capture), while your source tapes have drop-frame time code on them (go figure). At least that’s how I read it.”

close,
all 24fps ( 23.98) content is non drop, in HD and in SD, not just the 24pA version.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Sean Oneil]

[Dave LaRonde] “Thanks for the clarification. Now for a question: Why the heck would they do that?

As enumerated above, the NDF causes fits should the need arise to recapture from the source tape, which very often is in drop frame.

I’d appreciate knowing the logic behind it. But right now, it seems like just another good reason to avoid 24 frames a second when working in NTSC. Too many obstacles.”

There is logic. There’s just no such thing as DFTC for 23.98 footage. The industry is trying to do away with drop frame it seems. The only purpose for DFTC is so the TC matches the time in real life. This is only useful for live broadcasting, or live security cameras – neither of which will you find 23.98 TC. HD is always non-drop I believe. So yes, I would avoid 24p if you have DF source tapes.

I take it you are using 24pA over firewire. Again, if you do 24p over SDI or analog by using pulldown removal from a Blackmagic or Kona, then it works differently. The original 29.97 remains intact, which would have helped you in this case.

Either way, both are complicated. They can have tremendous advantages but you have to have a complete understanding of how it works and what the limitations are. For example, using 3:2 pulldown removal, you can’t batch re-capture only the media you want. You have to capture the entire source tape or else the cadence will be thrown off.

One thing to check though. You can ALWAYS change the TC format of your clips. Go to “Modify->Timecode”. You can change to 29.97 DF, 29.97 NDF, 23.98, etc. It doesn’t matter what the actual framerate of the video is. The timecode format can be whatever you want it to be. And you can of course change the numbers too. So if you know what the start TC of each source tape is supposed to be, you might be able to fix it. Hopefully that’s something that can help you out.

Sean

[Gary Adcock]

[Dave LaRonde] “I’d appreciate knowing the logic behind it. But right now, it seems like just another good reason to avoid 24 frames a second when working in NTSC. Too many obstacles.”

<<<<<<<>>>>>>>

And once again I could not disagree with you more. 24p content is a technique, as much as shooting 60i is. The process of putting film on video is as old as video is, the only difference is that so many more untrained people in the market place that never had the need to know any of this.

There are many kinds and needs for all sorts of delivery. The web and DVD production can benefit from working in 24pSD and anyone thinking about doing anything other than news promos should consider all options.

I love 24p and shoot it for everything I do that is not in 25p. I understand people’s misunderstanding of this drop frame stuff. I also understand that many people never read a book or take a class to understand all of these obtuse regulations brought to us in a time when the phosphors could not respond fast enough ( interlace) and the audio signal was corrupted by video that had too bright/ much white ( drop frame) by the networks.
People working in Web delivery, DVD, Corporate and / or Event video have no need for frame accuracy the majority of the time.

There are also a whole bunch of people working in video (the world outside of NA and Japan) that could care less about the archaic necessity of of DF in video.

<<<<<<< end rant>>>>>>>>>>

It’s does this because of the stupid insistence of NTSC Drop frame TC (and its carryover into HD)
or don’t you remember that camera used to NDF but the editing was DF>

(simplified version)

The tape head actually is slowed down to 23.98 to accommodate the DF timing without actually “dropping” the frame count (ie: no frames are dropped in DF timecode. the actual timing changes) This is done so that you can have a realtime conversion to video – remembering that this was done to accommodate motion picture and news film playing out on video and later to accommodate accuracy of timing in the NLE film editing process, since most Telecine until recently was done as NTSC video rather than the now preferred DPX or HD delivery that we work with now.

Remember
The rest of the WORLD is NON DROP

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows