[Brent Marginet]

I don’t know what you mean by “first minute frame” but unless there’s something really wrong with your system you should be able to see the entire video in a timeline.

Navigate to your movie in Premier’s Media Browser and then drag it to a Bin.
Create a new Sequence with your desired Audio and Video Settings and then Drag and Drop the Movie from the Bin to the Timeline.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

Can you post as many hardware specs as possible about your system like current amount of RAM, DDR-X, number and size of sticks, Video Card, CPU, etc. etc.

Also which Version of Windows are you using 7, 8, 8.1 or 10 and 32 or 64bit.
OpenCL or CUDA you know the whole ball of wax.

I will try to help if possible.

I run primarily Mac but I ran into a very similar issue on my PC recently.
I started off reseating everything from Power Connectors to RAM Modules and every expansion card that was in the system. I even reset my BIOS back to the Optimized Factory Defaults and also ran MEM Test with no luck. In the end a new clean install of the OS took about a day once all of Windows Updates were done. I must say though the difference was well worth the time it took to reinstall everything. It seems like it’s 10 times faster now.

Here’s the MEM Test Link.

https://www.memtest.org

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

23.976 with a 2:3 pull up gives us 29.97fps just like 24 with a 2:3 pull up gives us 30fps.
So exactly 6 frames per second are added to get from one to the other.

In our digital world we can shoot everything at 23.976 and that will give us the most delivery possibilities.
23.976 can be converted to 24fps with a 0.1001001001…% Pull Up and to 25fps with a 4.1666666666…% Pull up.
Of course if you A/B a 23.976 and 25fps Video with the pull up the Audio will have a slight chipmunk sound to it.

The solution to the Video/Film problem is to shoot the Video at 24fps as well.
If it wasn’t and your NLE is not able to interpret the footage as another Frame Rate then either the Video needs to be speed up to 24fps or the Film needs to be Telecine’d down to 23.976. Which way you need to go is determined by the Frame Rate the Audio was Recored at.

Dave explained the reason for 29.97 very well in a condensed way.
Here’s a link that explains it in more detail.

https://glydeck.blogspot.ca/2011/07/why-do-we-have-2997-frame-rates-and-not.html

If we wouldn’t have rushed Colour to the Market to get ahead of everyone else these problems and a lot of pain and suffering could have been avoided. The Europeans looked at all of our mistakes, yes there were quite a few and fixed them before bringing there Colour System to market. That’s why they do not have some stupid Frame Rate like say 24.975 although there is a so called Slow Pal but that will be left for another article.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

48000HZ is not a Frame Rate it is your Sample Rate. The Zoom does not Jam to or Output T/C so the only way there would be a set Time Code Frame Rate is if you set it to one before recording.

In your second point you mention that the Proxies are 24fps but the original footage is 23.976 so first thing would be to make sure that your proxies are the same Frame Rate as the Original Footage is. This is what’s causing all of your grief. You may have to delete all of the Proxies before changing the Premiere Proxy settings to 23.976. You may then be able to solve all of you’re issues because now it sounds like both of the Cameras were set to 23.976 but for some reason the Proxies on the one Cam are being built at 24fps.

I can’t see why you would need to hire someone, just fix your Proxy problem.

Note: if the file extension of that second camera is .R3D then it was a RED Camera if it is .MXF then it could be any number of Cameras including Sony, Canon, etc. Install a little app called MediaInfo it can tell you a lot about your media and is available in the Apple App Store for free or can be downloaded for Windows directly for the creators site. That’s MediaInfo and not Media Info.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

This will definetly cause some issues.
First off, if 23.976 and 24fps were the same then they wouldn’t have different FPS numbers just like 29.97 and 30fps. I apologize for this but if a Car and a Truck where the same then they wouldn’t have different names.

Here’s a couple examples of the difference.
First with 1 and then 10 hours of footage.
This should clear things up for you.

1 hour of footage. 24x60x60 or 86400 Frames @ 24fps.
FPS Frames played back in 1 hour. Time to Playback 86400 Frames.
23.976 86314 1:00:03:14
24 86400 1:00:00:00

10 hours of footage. 10x24x60x60 or 864000 Frames @ 24fps.
FPS Frames played back in 1 hour. Time to Playback 86400 Frames.
23.976 863136 10:00:36:00
24 864000 10:00:00:00

Now it becomes pretty evident especially with a 10 Hour Video why things will go out of sync. So you can see why your Audio will not sync with both Cameras. Your A-Cam is running 0.1% slower or 24 x 0.999 = 23.976fps than the B-Cam. Even if you jammed the T/C on the Cameras the Time Code for the exact same moment in time on the two Cameras will not be the same and drift farther apart as the day goes on. A good example would be an A/B-Cam common slate.

There are a few ways to fix this if Interpreting the 24fps footage as 23.976 doesn’t work. That would require a mini novel to explain unless I were provided with exact details.

Was the Audio only recorded as Split Audio in the Cameras or was there an External Recoder. What Frame Rate was the external recoder set to and what Frame Rate do you intend on cutting in. The Frame Rate you cut in will also be determined by what your final destination(s) for this Video are. Internet, Computer Playback and BlueRay can do both but if there’s a Broadcast Deliverable then you must cut at 23.976 to do the proper 2:3 conversion to 29.97.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

I’ve seen this problem before and it’s generally but not always a result of RAM issues on your Video Card. The reason you would see it happening more with apps like Premiere is because they push the GPU much harder than most others do.

Try running some render tests with DaVinci Resolve with it set to use CUDA and see what happens. It really pushes a Video Card, especially during playback and I’ve actually seen artifacting in the Rendered Videos from Resolve when a Video Card is failing.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

This looks like a compression issue.
Either your export is compressed far to much or the Video Bit depth is to low.

First I would say don’t use AVI use the default 10mb – H.264 Preset that’s built into Premiere and Media Encoder. Second don’t use uncompressed audio, use AAC at a bit rate of 128 to 256kb. Do an export with these settings and then take a look at it, it should look far better. You can always turn up the Video Bit Rate but if you set it to high your file could end up being quite large and would take forever to upload.

This is my opinion but AVI has never been and will never be a good or useful Codec so don’t use it. Besides if your putting you stuff on the internet then H.264 is the de facto standard.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

You must erase that old HD but first.

If your going to keep your old boot drive in your system first thing you need to do is backup all the data that you want to keep. You can also copy any software installers that you want but there’s no point copying any of the installed Applications in the Program Files Folder(s). When software is installed there are many other places besides the Program Files Folder that stuff is installed and on top of that the Registry is Updated so it’s pointless to just copy the Apps Folders.

Now it is absolutely a must that you proceed to re-format this drive. If you don’t the OS may think this drive is part of you main System and you could end up with cross linked drives and files. New installations of software could install components on that old drive and that could really mess up you OS. Even worse your OS may link to the Registry on the old drive and that could be catastrophic.

As far as Raids go take a look at this.

https://en.wikipedia.org/wiki/RAID

I wouldn’t bother with a raid unless you have at least 3 or 4 brand new identically sized drives.
Next would be deciding what Level Raid you want to use based on what criteria are most important.

Here’s an example of what I have done to get a high performance Raid and then some protection on my back drives.

I have a six drive Raid 0 Volume that gives me very high performance but essentially zero protection.
I then have a few Hardware Raid 5 Drives for Backups, these provide some safety but much less performance than the Raid 0 Volume. I also have some Hardware Raid 60 Drives that have adequate performance and much higher safety than the Raid 5 Drives.

Note I stress Hardware Raid 5 and Raid 60 because I’ve seen far to many people lose far to much data relying on Software Raid 5 and 60 Volumes.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

Although this could be a good idea it’s basically not possible unless you want to recut with the render files.

Again as I said in your other post if every NLE would just use the same FX like say Open FX all these problems. would go away.

Is this likely to happen, NEVER.
Just like everything else on this planet no one will ever want to standardize.
How else would they be able to get away with charging outrageous prices for there products.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

[alius sato] “the “force conform” to a clip on the timeline (which would still have to be done clip-by-clip) doesn’t seem to work either – it refuses to relink.”

Resolve relinks using the Reel/Tape Name Metadata. Why???
Because the name can and will be changed and then there would be no reference back to the original clip.
If you have a way of changing the Reel/Tape Name Metadata and an extra year to do it then maybe the render files will work.

[alius sato] “ok – so the project kinda comes over to resolve, but it’s linking to the source not to render files – and almost everything would have to be redone if working like this.”

Although this would be a good idea with complex edits like yours I’ve never seen any NLE Link back to the render files.
Yes pretty much everything will have to be redone unless Resolve interprets all your special effects exactly the same way Premiere does which is unlikely. I think everyone really needs to use an FX Standard like say Open FX and then all this incompatibilty crap would just go away.

Can you not flatten the Timeline to a single Track before you Export the EDL.
If you can do as Glenn suggests and bring the EDL into Resolve via the “Pre-Conformed EDL” Import Option and all the dissolves will come along.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”