[Luisito]

Hi Shane,

Thank you for the suggestions. I will try using the Panasonic frame rate converter to change the vid rate of the clips, and if that doesn’t help, then I’ll try Compressor.

I will stress the importance of knowing the final format to the director/producer so that we can set up a predictable workflow.

This forum is so helpful and the entire website is simply an amazing resource. I’m so glad I’ve signed up! I’ll write back when I’ve tried the above suggestions and post the results.

Cheers!
Luis

Vancouver, BC

[Luisito]

Hello Shane,

Once again, “gracias” for the quick reply.

No, I haven’t tried the Panasonic Frame Rate Converter, but that is because I thought that was specifically for under/over-cranked footage. The footage for this project is not meant to be slo-mowed at all. Is my reasoning correct?

I also wrote to Graeme regarding the Nattress filters, but he didn’t think it applied to this particular issue.

Final delivery specs have not been set. I believe the initial strategy was to shoot 24p to protect for a film finish. Having said that, the final format is not yet clear.

Since we are not going back to any original footage to online, what is the consequence of editing in a 59.94 timebase? Are there any papers/threads that explain this?

If I use Compressor to convert the clips, will it also adjust the audio?

Thanks for your putting in the time to help!
Luis

[Luisito]

Hello Shane,

Thanks for your quick reply.

Let me clarify something – none of the footage whether it be the 23.98 or the 59.94 plays slo-mo. No varicam was used. I have created a separate project for each video frame rate and the clips play at normal speed. I have told the editor to use the 59.94 project as the master project and I have brought in all of the 23.98 footage as a giant sequence and rendered that.

The 23.98 footage has had the dupe frames removed but in the 59.94 project the footage has a pulldown (dupe frames exist).

Since I was brought on to the project after most of the shooting and ingesting of footage, I am uncertain which video footage came from which camera. I was present when footage from one session was imported (from P2 and firestore drives) and the footage came in as 59.94 in the 59.94 project.

One major issue that I do not understand yet is this: Is it the camera setting that determines the frame rate, or is it set during the import process (ie, in the final cut capture settings?). Is it possible that the two cameras were recording at the same frame rate (ie, 24p) but the footage was imported (at different times) using different settings? If the answer is yes, then is it possible to somehow convert the 23.98 footage to 59.94?

Thank you again for your help!
Luis

[Luisito]

Hello Gary and Walter,

Thanks to Unclejunebug for starting this thread. I have a related question to ask.

Here is my situation:

I am assistant editing on a documentary shot on two different cameras: the Panasonic HDX-900 and the Panasonic AG-HVX-200 using P2 cards and Firestores. I have been *told* that the cameras were both shooting at 720-24p. However when I started to sort through the footage in Final Cut Pro version 5.1.2, I found out that there was footage with a video rate of 59.94 (the bulk of it) and 23.98. The capture preset is set at DVCPRO HD 720p24 48kHz and the sequence preset is set at DVCPRO HD 720p24. However, every time I create a sequence I change the sequence settings to 59.94 because most of the footage is at that video rate.

Naturally, the two frame rates can’t co-exist on a timeline without one of the frame rates being rendered. The editor wants all the footage to be of the same frame rate so no rendering is required. How do I achieve this while maintaining sync sound and timecode? My hunch is to stay in the 59.94 video rate and somehow find a way to convert the 23.98 footage to 59.94, but is there a simple way to do this (asides from rendering in the timeline)?

Thanks a million for your help!!!
Luis