[Chris Jones]

Grant, If you have any interest in helping me understand 23.976 vs 24 fps, the help would be greatly appreciated. For some reason it’s a concept I can not wrap my head around. There is something fundamental I’m not grasping.

I’ve spent a number of years making a feature film on 16mm film coming from a (film) photography background. So I’ve been thinking in terms of true 24.00 fps

To finish the movie we are adding a small amount of 23.976 footage to the 24.00fps film. The sound was also recorded at 24.00.

The film will be going to a film festival which requires 24.00

My thinking is to edit everything at 24.00 and when it’s necessary do a conversion to 23.976 after the film is completed.

One thing I would really like to understand is what is exactly happening when clips are converted from 23.976 to 24.00 and visa versa. You may have answered that in your post, I’m going to have to go back and look more closely at what you said.

“They are both a variation of each other. 23.976 is actually the more accurate because it does not loose that frame to make it round 24.”

From what you wrote did you mean that you drop frames when you convert to 24.00 fps? I thought it was just a speed change and the frame count didn’t change

If I could really understand how the speed change is taking effect, then might understand 23.976 vs 24.00 more.

Thanks 🙂

[Chris Jones]

I have a follow-up question:

I just did a test converting to ProRes4444 (frame controls ON). I opened the clip in DaVinci Resolve and looked at the clip details.

It says the clip is 16bit.

Is ProRes4444 always 16 bit? Or do you think 16bit might be how Resolve says in shorthand 10bit floating point?

Thanks

[Chris Jones]

Good to know! Thanks!

[Chris Jones]

I’m not sure if this applies…

But was it a clip that started on one P2 card then switched to the other card before you finished the shot?

Also did you try logging and transferring from the camera and also from your computers hard drive after you transferred the footage?

[Chris Jones]

This is an old post and I’m not sure if anyone will see this reply…

Matt, I also need to convert 23.976 to true 24fps.

I was wondering if what you did in your last post ended up working for you.

Thanks!

[Chris Jones]

[Rafael Amador] “Check “Frame Control ON” in Compressor”

If I leave it off will it stay at 8 bit?

[Chris Jones]

[Shane Ross] ” No version of ProRes is 8-bit”

I guess that’s why I could not find a setting for 10 bit 🙂

Thanks! I didn’t know that about ProRes!

[Chris Jones]

Hi Juan,

Thanks for the quick response!

I had a feeling it didn’t… oh well…

[Chris Jones]

Stig, I know exactly what you are talking about. I find the same thing frustrating, especially when you have white car in freeway shot where it’s the only white thing in the image and is very small.

In a tutorial once I saw that there is a tool that I think actually comes with the Mac Operating System where you can hold the cursor over the white area (or any colored area) and it lets you know its balance.

But I can’t remember what it’s called. It might be called “color picker”.

The problem with it would be that it would only work on your UI and not your grading monitor. So your UI monitor would have to perfectly calibrated.

[Chris Jones]

4. I have an HD LINK. If you get one and have a problem getting picture on your monitor. Unplug the power from the HD Link and plug it back in. I have to do that a lot.