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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

whoopsie 24fps

"24fps footage into a 23.98 timeline and all is good"

don't know about FCP but i would think it's the same in all NLE ..
i had 24fps 2k cineon scans ... we also had a 23.97 SD transfered to hard drive of same material .. i rendered the 24fps 2k out at 23.976 and it didn't match up to the 23.97 transfer ( 5 reels each approx 16-18 min long) each reel was approx 25-33 frames short ...
what i had to do to get them to match was in AE i changed the 24fps clips to 23.97 ( basically it just slows down the frame rate to 23.97 from 24fps) ..while rendering 24fps to 23.97 ended up dropping frames ...
in the end the 2k scans matched the 23.97 SD transfer = the audio now lined up with with both SD & 2k scans ..

based on the above i wouldn't count on 24fps clips lining up with 23.97/29.97 audio ??
i believe there is something in FCP that you can change 24fps clips into 23.97 ? maybe something in compressor .. if not i know AE can do it ...
 
Timeline

Timeline

It should just be as simple as putting the 24fps video in a 23.98 timeline.
No re-rendering. My guess is that the audio was recorded at 23.98/29.97.
This is basically the path of all film based projects.
Shoot at 24fps. Edit those same 24 frames in a NLE at 23.98 (23.976) fps.
 
zak forrest said:
thanks ryan, so what is up with the other reply in this thread? is that the old fashioned way? my friend can really just drop 24.0fps footage into a 23.98 timeline in final cut along with the audio (the audio was recorded @ true 24.0fps non drop) and cut the film and its that simple?
Click to expand...

I'd double check the audio, audio of course is not recorded at a frame rate, but a sample rate. It so happens the 48 KHz is sample accurate to 23.98 and 29.97. If you apply a .1% pullup to the audio clock, or record at 48.048 KHz, then yes, technically it matches speed with true 24 fps rates. So, if you have 24fps and 48.048 KHz ingested into an editor and is natively set for 23.98 and 48 KHz, then both image and sound will match, but be .1% slower than realtime, which outside of very rare circumstances, will not ever be noticed. If the audio clock was set at straight 48 KHz, then it will not match with the image without applying a .1% pullup sample rate conversion in post. This answer is based more on theory, but as far as the practical behavior of FCP in practice, I can't comment on that.
 
I think donatello b is saying the same thing.
Don't try to re-render the footage.
In Premiere and AE, there is a function to interpret footage to different frame rates. I'm not much of a FCP user so I don't have any details.

The common old problem was film at 24fps and the audio was recorded at 23.98fps sometimes. Gotta make them match somehow.
It was all simple when film was film and video was video. Then people wanted to edit film on video. Then they wanted to edit video in NLE. Then they wanted to edit film and video and mix the two in NLE. It's the same reason there is not one HD format. There's a lot of legacy stuff to work with.

The new problem is SFX editors render out CGI files at different rates sometimes. Send footage out for an effect at 23.98 and it may come back as 24fps. Just changing how the footage is interpreted by the NLE puts everything in place. If you render to change the fps, frames get blended and all kind of strange things show up.

Most NLE software packages have a simple way to deal with it. You just have to check the right box somewhere.

Tom's right about the audio. Sometime you have to apply a pull-up or pull-down to get the audio rates to match the video rate.
But I think you'll find these pull-up or down conversions in Pro-Tools or DAW audio software packages. Not NLEs.
 
Just if you want to layback to tape and get a downconvert out to DVD. I've only worked on one film that was cut in true 24fps. If I remember correctly, we layed out at 24fps then digitized it back into a 23.98fps to create a new 23.98fps master.
 
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