Interpret footage default?

whenever i bring in an image sequence the interpret footage dialog is
always at 30fps which makes it necessary for me to change it to 23.976
or whatever i'm working at. how do i change the default for this? i searched
help but didn't see it. also perused the preferences but must have missed it
there too.
thanks,
BabaG

thanks for the pointer.
gave the file a quick once-over but didn't see anything in it about image sequences.
couldn't figure out how to pass my 23.976 value to into that file. everythiing seemed
to be set up for specific formats. my sequences are 3072 x 2304 (4x3) tga sequences.
i have no idea how ae is getting the values it's using for defaults in this case or where
in the txt file i would modify them. any further tips much appreciated. fwiw, i'll paste the
txt file in its default form.
thanks again,
BabaG
# "Interpretation Rules.txt"
# Adobe After Effects Automatic Footage Interpretation
# lines beginning with "#" are comments
# basic format of a hard rule: {match requirements} = {set interpretation}
# basic format of a soft rule: {match requirements} ~ {set interpretation}
# + for each rule that matches, the interpretation is set; wild-cards ("*") allowed
#   on both sides; wildcard match matches anything, wildcard set sets nothing
# + multiple rules are allowed to match, later matches override earlier matches
# + all rules are scanned in order, one rule per line
# + rules are applied after pixel aspect ratio, alpha information, and field label
#   information is read from a file
# + soft rules will not override values that are specified explicitly by the file format or set by previous rules
# width, height, frame-rate, file-type, codec =
#     pixel aspect ratio/name, field order, conform frame-rate, alpha interp, icc profile code or profile description (one or the other), linear light
# width & height are integer numbers
# frame-rate is a decimal number
# file-type is four characters in quotes (4c's)
# codec (applicable for QT & AVI only) is also 4c's
# to find out the file-type and/or codec 4c's for a specific type of footage,
#    opt-click (Mac) or alt-click (Windows) on the footage in the project window;
#    the 4c codes will appear in the last line of text by the thumbnail
# the pixel aspect ratio is a ratio of integers (e.g. 10/11)
#   optionally followed by a name for that ratio (e.g. 10/11/"My Aspect")
# In After Effects CS4 (v9) we modified the Pixel Aspect Ratio's for several common formats:
#    D1/DV NTSC From 648/720 (0.9) to 10.0/11.0 (about 0.9091)
#    D1/DV NTSC Widescreen from 6/5 (1.2) to 40/33 (about 1.2121)
#    D1/DV PAL From 768/720 (1.07) to 768/702 (about 1.0940)
#    D1/DV PAL Widescreen from 64/45 (1.42) to 1024.0/702.0 (about 1.4587)
# the field order is a single character, (F=frame, U=upper field, or L=lower field)
# the conform frame-rate is a decimal number
# alpha interp: (I=ignore, S=straight, P=premul/black, W=premul/white)
#    alpha interp is ignored for footage without an alpha channel
# icc profile is specified either by profile code which is four characters in quotes or by profile description which is a string in quotes with at most 255 characters plus quotes
# The supported profile codes are:
#    - working space profile: "wRGB"
#    - embedded profile: "embe"
#    - preserve RGB: "pRGB" (this does exactly what Preserve RGB checkbox does in Interpret Footage dialog)
#    - sRGB: "sRGB"
#    - Adobe RGB: "AS98"
#    - Kodak 5218 film profile: "ginp"
#    - SDTV NTSC: "r6nf" (SMPTE RP 145 primaries and ITU-R Rec. 709 TRCs. Black is encoded at 0 and White is encoded at 1.)
#    - SDTV NTSC 16-235: "r6ns" (SMPTE RP 145 primaries and ITU-R Rec. 709 TRCs. Black is encoded at 16/255 and White is encoded at 235/255.)
#    - SDTV PAL: "r6pf" (EBU Tech. 3213 primaries and ITU-R Rec. 709 TRCs. Black is encoded at 0 and White is encoded at 1.)
#    - SDTV PAL 16-235: "r6ps" (EBU Tech. 3213 primaries and ITU-R Rec. 709 TRCs. Black is encoded at 16/255 and White is encoded at 235/255.)
#    - HDTV (Rec. 709): "r7hf" (ITU-R Rec. 709 primaries and TRCs. Black is encoded at 0 and White is encoded at 1.)
#    - HDTV (Rec. 709) 16-235: "r7hs" (ITU-R Rec. 709 primaries and TRCs. Black is encoded at 16/255 and White is encoded at 235/255.)
# The profile description can be looked up either in UI (project window thumbnail info) or in a color utility such as ColorSync or it is user-defined
# when creating a custom profile
# linear light is an integer (0=Off, 1=On, 2=On for 32 bpc footage)
# soft rule; assume ATSC 704x480 in any format is D1 aspect
704, 480, 29.97, *, * ~ 10/11, *, *, *, *, *
# NTSC rules
# soft rule; assume 720x480 29.97fps formats are DV NTSC (lower, NTSC D1/DV aspect)
# soft rule; assume 720x480 formats with all frame rates have NTSC DV/D1 pixel aspect ratio
# soft rule; assume 720x486 formats with all frame rates have NTSC DV/D1 pixel aspect ratio
# soft rule; assume 720x480 and 720x486 native mediacore formats are SDTV NTSC
# soft rule; assume 720x480 DVCPro50 files are SDTV NTSC
720, 480, 29.97, *, * ~ 10/11, L, *, *, *, *
720, 480, *, *, * ~ 10/11, *, *, *, *, *
720, 486, *, *, * ~ 10/11, *, *, *, *, *
720, 480, *, *, "dvc " ~ *, *, *, *, "r6nf", *
720, 486, *, *, "v210" ~ *, *, *, *, "r6nf", *
720, 486, *, *, "UYVY" ~ *, *, *, *, "r6nf", *
720, 486, *, *, "2vuy" ~ *, *, *, *, "r6nf", *
720, 480, *, *, "dv5n" ~ *, *, *, *, "r6nf", *
# PAL rules
# soft rule; assume 720x576 25fps formats are DV PAL (lower, PAL D1/DV aspect)
# soft rule; assume 720x576 formats with all frame rates have PAL DV/D1 pixel aspect ratio
# soft rule; assume 720x576 native mediacore formats are SDTV PAL
# soft rule; assume 720x576 DVCPro50 files are SDTV PAL
720, 576, 25, *, * ~ 768/702, L, *, *, *, *
720, 576, *, *, * ~ 768/702, *, *, *, *, *
720, 576, *, *, "dvcp" ~ *, *, *, *, "r6pf", *
720, 576, *, *, "v210" ~ *, *, *, *, "r6pf", *
720, 576, *, *, "UYVY" ~ *, *, *, *, "r6pf", *
720, 576, *, *, "2vuy" ~ *, *, *, *, "r6pf", *
720, 576, *, *, "dv5p" ~ *, *, *, *, "r6pf", *
# D16/D4 rules
# soft rules; assume 2880x2048, 1440x1024 formats with all frame rates D16/D4 pixel aspect ratio
# removed from 7.0 -- remove comments to re-enable
# 2880, 2048, *, *, * ~ 128/135, *, *, *, *, *
# 1440, 1024, *, *, * ~ 128/135, *, *, *, *, *
# HD / HDV rules
# soft rule; Panasonic Varicam is 960x720
# soft rule; Sony HDV is 1440x1080, upper field first
# soft rule; assume HD dimensioned native mediacore formats are HDTV full swing
960, 720, *, *, * ~ 1280/960/"HDV", *, *, *, *, *
1440, 1080, 25, *, * ~ 1280/960/"HDV", U, *, *, *, *
1440, 1080, 29.97, *, * ~ 1280/960/"HDV", U, *, *, *, *
1280, 720, *, *, "v210" ~ *, *, *, *, "r7hf", *
1280, 720, *, *, "UYVY" ~ *, *, *, *, "r7hf", *
1280, 720, *, *, "2vuy" ~ *, *, *, *, "r7hf", *
1920, 1080, *, *, "v210" ~ *, *, *, *, "r7hf", *
1920, 1080, *, *, "UYVY" ~ *, *, *, *, "r7hf", *
1920, 1080, *, *, "2vuy" ~ *, *, *, *, "r7hf", *
# soft rule; assume HDV formats are HDTV full swing
*, *, *, *, "hdv1" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv2" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv3" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv4" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv5" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv6" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv7" ~ *, *, *, *, "r7hf", *
# assume NTSC DV is D1 aspect, lower-field
# <obsolete rules -- superceded by soft rules above>
# 720, 480, 29.97, "MooV", "dvc " = 10/11, L, *, *, *, *
# 720, 480, 29.97, "MooV", "dvpn" = 10/11, L, *, *, *, *
# 720, 480, 29.97, ".AVI", "dvsd" = 10/11, L, *, *, *, *
# soft rule: tag Cineon files with Kodak 5218 profile
# remove comment below to enable
# *, *, *, "sDPX", * ~ *, *, *, *, "ginp", *
# soft rule: tag all Cineon files for now with Working RGB
*, *, *, "sDPX", * ~ *, *, *, *, "wRGB", *
# this soft rule should be the last in the list of soft rules
# soft rule: tag all untagged footage with an sRGB profile
*, *, *, *, * ~ *, *, *, *, "sRGB", *
# hardware- and format-specific rules
# Media 100 640 x 480 is square-pixel, upper-field first
640, 480, 29.97, "MooV", "dtmt" = 1/1, U, *, *, *, *
# Media 100 Finish 720 x 486 is D1-pixel-aspect, lower-field first
720, 486, 29.97, "MooV", "dtNT" = 10/11, L, *, *, *, *
# assume Matrox DigiSuite is D1-pixel-aspect, lower-field first
720, 486, 29.97, ".AVI", "MJPG" = 10/11, L, *, *, *, *
# assume Pinnacle Targa 3000 YUV is D1-pixel-aspect, lower-field first
720, 486, 29.97, ".AVI", "UYVY" = 10/11, L, *, *, *, *
# Media 100 Mac 720 x 486 is field-labeled by Media 100, and
# can be upper or lower depending on the hardware, but
# uncomment the next line to force D1, lower-field first
# 720, 486, 29.97, "MooV", "dtmt" = 10/11, L, *, *, *, *
# Avid 640x480 is square-pixel, upper-field first
640, 480, *, "MooV", "avr " = 1/1, U, *, *, *, *
# Avid Meridien Codec NTSC is lower-field first
720, 486, 29.97, *, "AVDJ" = 10/11, L, *, *, *, *
720, 486, 29.97, *, "AVUI" = 10/11, L, *, *, *, *
# Electric Image writes straight alpha files
*, *, *, "EID2", * = *, *, *, S, *, *
# OpenEXR is premultiplied by convention
*, *, *, "oEXR", * ~ *, *, *, P, *, *
# only adds a custom pixel aspect ratio to the popup in the Comp Settings & Interpret Footage
# dialog boxes -- uncomment the next line to try it out
# 0, 0, 0, "0000", * = 10/11/"Custom Aspect", *, *, *, *, *
# rule to make red raw files available as Rec709
# with Gamma encoded 32bit float data
*, *, *, "R3D ", * ~ *, *, *, *, "r7hf", 0

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    Mac OSX 10.7.5
    AME: 6.0.2.81 (64-bit)

    We are actually generating the files ourselves and keeping them 23.976fps (or 25fps for PAL-country clients). We're interpreting the incoming 23.976fps file as 18fps because that is the speed at which it was shot. Super-8 sound film like most other sound film was 'supposed' to be shot / projected at 24fps, but many shooters used 18fps to get more time out of a 50-foot camera load. Our company provides 24p (or 25p) files to clients, and in addition to providing 1 to 1 representations of their film at 23.976fps, we also provide 24p files with duplicate frames inserted so they are easy to work with in NLEs, yet approximate the correct motion for material that was shot at 12, 14, 16, 18 or 20 fps. Our Apple Compressor workflow works great for the 90+% of material that is silent or is sound film shot at 24fps. We would experiment with moving the entire speed-correction workflow to AME if it solved the 18in24 sound problem, and it _almost_ does. The behavior I described is obviously a bug and not 'works as intended' - it will then be a question of whether such an outside use case gets any attention. If I can come up with another use case that would be more popular, then I might get more visibility for the bug. I suppose that some may wish to batch out 24p files from 25p files using the same technique. That is, throw a pile of 25p files into AME, interpret them as 23.976 and write them out to 24p files. I would expect that the last 4% of those files would show a freeze frame...
    Message was edited by: buckbito - typo fix

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