Kerry Mcdowall
Forum Replies Created
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Alright, so we were able to put it through frame rate converter, but it came out quite steppy. Definitely not as fluid and smooth as 30 fps or 60 fps (which we’re quite impressed with). We’d be better off having our vfx department slow it down in post instead, which is a shame. Kind of defeats the purpose of having the varispeed feature on the camera in the first place.
Is there be a trick there to smooth it out that we are unaware of? We are editing on a 23.98 timeline. -
Alright. So our assistant editor followed your tutorial and unfortunately I was unavailable during this process and only saw the end product. They said the followed your tutorial properly, the only difference is that our footage originally was DVCPro HD 1280×1080. Interesting note after the process, under “format,” the specs still show 1280×1080, not 720, but under “compressor” it states 720p60.
The slo-mo was unfortunately extremely steppy. When advancing frame by frame it looks like the added frames were not the right ones. One frame will advance, then next will regress, then next advances farther than the first, but then it’ll regress back slighty. Very bizarre. The entire shot has that back and forth effect. Have you ever seen this before?
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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. -
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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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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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.