[Sean Winn]

Kevin, thanks for the reply. Though my system is 10.8.5, and I’ve experienced no crashes on startup, I followed the instructions. In each instance the user was set to read/write, but a couple of the ‘staff’ & ‘everyone’ were not, so I changed those.

[Sean Winn]

Thanks JP – I agree on that.
Thanks for the input

[Sean Winn]

Richard,
Thank you for the information and your time, much appreciated…
Sean

[Sean Winn]

I shoot with a DSLR workflow (7D/MkIII)

[Sean Winn]

Ok, thanks Tero, that explains it then. So, I understand why the 60 dropped in to the 24 looks filmic.

Though on this long shoot it’s tempting to shoot the entire thing at 60 so I have slo mo anywhere I want it, I realize that’s not the way it’s done, so I may just bear switching the mode back & forth – the only problem is the times you miss something because you weren’t ready.

Thanks

[Sean Winn]

Thanks again for the replies. You’re right, progressive is not interlaced, my brain was wanting to use the term to describe the look of the footage. It’s interesting, when previewing the 60p clip in the preview window, it’s definitely 60p – the look of live video. When I drop it in the 24 timeline (agian, it’s playing still at normal speed), it now has the look of being shot at 24 – no longer live video. I hadn’t experienced this before.

My whole question was aimed at whether I could avoid having to switch between 60 & 24 frames when I wanted slo mo vs 24. I’ll be on a fast moving, 17hr shoot upcoming (meaning I’m not directing anything, just capturing action as it happens), and there are times it’s a challenge to see everything you’re going to want in the edit.

Thanks again

[Sean Winn]

Chris & Richard, thank you for your time.

I think my question was missed though. I’m not looking for info on how to do slo mo, that is not the issue. I was simply wondering if anyone knew, if you shot at 60fps, then dropped it straight into a 24fps timeline, if it ‘deinterlaced’ it in any way. When I try this, the footage plays at normal speed, not slow mo (because I wasn’t wanting to slo it down), but definitely looks deinterlaced – filmic.

That question and the basic question of, if this is possible, and you’re on a shoot where you don’t know which parts you may want to slo down in post, if anyone ever just shoots at 60fps, knowing that in your 24fps timeline, you have the benefit of filmic, normal speed footage once dropped in, or slow it down by changing the frame rate before dropping it in.

[Sean Winn]

Todd and Ned, you’ve both been so helpful and I recognize your time…thank you for taking it.
I’m keeping this thread in print form for future reference. Kind of you to help.

Todd, I’ll contact you offline.
Sean

[Sean Winn]

Also, in reviewing your info, and understanding you ‘pay pretty well’, can you suggest what we should be offering for ‘our’ day rate, based on the info I’ve provided and also what the agency replied with?

I’m just looking for some sort of ballpark that will be doable for us and not insulting to the agency/talent.

Lastly, if I wanted to do a ‘casting call’, how would I go about that?
Thanks again for any info,
Sean

[Sean Winn]

Gentlemen,
Can’t thank you enough for your input. Felt like going to class, but in a good way ;).
Is there any chance either of you would be willing to share your release form for adaptation? I don’t know where to start with that, so a primer would be very helpful.
Thanks for considering,
Sean