[Pierre Jasmin]

Also, alternatively save as CC (previous version) and rendering in CC should also work.

Pierre

[Pierre Jasmin]

You need to get the latest update (posted may 15)
Adobe broke it in CC 2014.2
We were able to find a workaround

Pierre

[Pierre Jasmin]

You need to get the latest update (posted may 15)
Adobe broke it in CC 2014.2
We were able to find a workaround

Pierre

[Pierre Jasmin]

You should shoot 60i (more samples per second) and the way to handle fields vary per host Twixtor run in, you did not say.
In AE, in Twixtor there is a menu to set fields property. In other hosts it’s different, so we need to know the application.

Pierre

[Pierre Jasmin]

You should shoot 60i (more samples per second) and the way to handle fields vary per host Twixtor run in, you did not say.
In AE, in Twixtor there is a menu to set fields property. In other hosts it’s different, so we need to know the application.

Pierre

[Pierre Jasmin]

Yes

Write to sales at revisionfx dot com
For number
Laurie is there until 5 today (1/2 hour more)

Pierre

[Pierre Jasmin]

Yes

Write to sales at revisionfx dot com
For number
Laurie is there until 5 today (1/2 hour more)

Pierre

[Pierre Jasmin]

At 120 FPS it’s really hard to find a usable shot that has warping artifacts. Perhaps fast moving little objets moving from one side of screen to the other, like ping pong, crocket, baseball balls, … things that still have substantial blur trail at that frame rate are typical candidates for problems as they cross other objects. It’s also harder to shoot as you need more light – so outside of sunlight you might get more noisy images.

Note if you use AE, although it creates a 120 FPS if you make New Comp from Footage it will make it 120 FPS but otherwise you are capped to make a new comp at 99 FPS, so it’s best you interpret footage at the wanted destination frame rate (e.g. 24 FPS) from the get go. The workflow if you want to maintain the audio is a bit different for each app, like in Premiere if you interpret 120 FPS to 24 FPS, you now have the chipmunks effect. Our last tutorials for Premiere go into this. You might have to unlink the audio and handle it separately. Premiere maintains a second of audio as a second of audio if you drop a sequence of 120 FPS into a 24 FPS sequence but not via Interpret Footage…

Pierre

[Pierre Jasmin]

At 120 FPS it’s really hard to find a usable shot that has warping artifacts. Perhaps fast moving little objets moving from one side of screen to the other, like ping pong, crocket, baseball balls, … things that still have substantial blur trail at that frame rate are typical candidates for problems as they cross other objects. It’s also harder to shoot as you need more light – so outside of sunlight you might get more noisy images.

Note if you use AE, although it creates a 120 FPS if you make New Comp from Footage it will make it 120 FPS but otherwise you are capped to make a new comp at 99 FPS, so it’s best you interpret footage at the wanted destination frame rate (e.g. 24 FPS) from the get go. The workflow if you want to maintain the audio is a bit different for each app, like in Premiere if you interpret 120 FPS to 24 FPS, you now have the chipmunks effect. Our last tutorials for Premiere go into this. You might have to unlink the audio and handle it separately. Premiere maintains a second of audio as a second of audio if you drop a sequence of 120 FPS into a 24 FPS sequence but not via Interpret Footage…

Pierre

[Pierre Jasmin]

Well you should get the result for the same clip
Maybe send us your clip and PrProj where you see the difference at techsupport at revisionfx dot com

Pierre