30 fps into 24 fps timeline leaving full frames

I know this has come up before but I can't find any references to it. I'm trying to put some 30 fps footage into a 24 fps timeline and keep all the frames thereby slowing the clip down a little and making it longer. Whats an easy way?
thanks
powermac g4 933 and macbook core 2 1.833   Mac OS X (10.4.9)  

YOu might try CINEMA TOOLS. It can CONFORM 30 to 24...but mind you it does it DESTRUCTIVELY...meaning that it alters the source clip. Bst to duplicate the clip, then try this.
And it may or may not work.
Shane

Similar Messages

  • Smooth Slow Motion from 50 fps Clip in 50 fps Timeline

    If I want 50% smooth slow motion from a 50 FPS video clip, I would normally ask PP to interpret that clip as 25 FPS - that works great.
    If however I import the 50 FPS video clip and interprett it as 50 FPS, I would have to set the speed of the video clip in the timeline to 50% to get the same level of slow motion.
    The question is - when I follow the latter method, does PP create new frames for the slow motion or is it clever enough to use all the frames from the original 50 FPS video clip? to put it another away, does PP always generate NEW frames for slow motion or does it try to use the frames we are attempting to ignore?
    I've done some basic tests and so far I can't see any real difference between the two methods. This leads me to beleive PP is effectively using all of the original 50 frames when the 50 fps video clip is imported into a 50 fps timeline and then slowed down in the timeline by 50%. - if this is the case, well done PP!!! If this is not the case, then it would be a welcomed enhancement in future releases.
    I guess what you are all wondering is why would I want to import a 50 fps video clip into a 50 fps timeline and then slow it down in the timeline - well, as a wedding Videographer, it is simply because some parts of the video need to be in slow motion and other parts like messages and speeches need to be interpreted at normal speed. If playback in the timeline is at normal speed, i find it simpler to slow down the "Walking Down the Isle" clips rather than having to speed up the speeaches and messages.
    In short, when importing 50 fps video for smooth slow motion, are both the following methods equally effective in terms of smooth motion?
    Method 1: Import the 50 fps video clip into 25 fps timeline
    Method 2: import the 50 fps video clip into 50 fps timeline and set the speed of the video clip in the timeline to 50% - I'm assuming PP does not generate new frames and gets them from the original 50 fps file instead..
    To put it another way, does PP ALWAYS attempt to generate new fromes when slowing down video in the timeline? When extra frames are available in the original video file, does PP try to get the extra frames from that file instead of generating new ones?

    I recorded 2 video clips of the same scene. The camera was panning from right to left.
    First video clip - recorded at 25 fps
    second video clip - recorded at 50 fps
    Both video clips recorded at the same panning speed of the same scene.
    1. If I import the 25 fps video into 25 fps timeline and slow it down by 50%, the exported video looks jerky.
    2. If I import the 50 fps video clip into 25 fps timeline, the exported video looks smooth motion.
    3. If I import the 50 fps video clip into 50 fps timeline, slow it down in the timeline by 50%, and export the video as 25 fps then the result is still smooth motion.
    I've only done the experiment once and may have to repeat to be absolutely sure.

  • Public Holiday calendar not to be taken into account for Sick Leave

    Dear All,
    I need help.
    Public Holiday calendar not to be taken into account for Sick Leave.
    Eg -When I employee applies for sick leave, the public holiday in between the dates shouldnt be considered. How can I configure this requirement.
    Please help.
    Regards,
    Poornima

    For that group, you need 2 counting rules:
    - one for Holiday Class 0 (not a public holiday) and Day Work Schedule Class 0 (not a working day)
    - one for Holiday Class 0 (not a public holiday) and Day Work Schedule Class 1 to 9 (a working day)
    If you want, you can add an other one or two for Holiday Class 1 to 9 (public holiday)
    extract from our T556C
    2       1   10 Q      10 Sick leave deduct from quotas (incl personal/spec) XXXXX   X  X    XXXXXXXXXX  XXXXXXXXX X X        XX XX    100.00  100.00              1     1       10              
    2       1   10 Q      11 Sick leave deduct from quotas (incl personal/spec) XXXXX   X  X    XXXXXXXXXX X          X X        XX XX      0.00    0.00              1     1       10              
    2       1   30 Q      10 Special leave with pay (with quotas deduction)     XXXXX   X  X    XXXXXXXXXX  XXXXXXXXX X X        XX XX    100.00  100.00              1     1       30              
    2       1   30 Q      11 Special leave with pay (with quotas deduction)     XXXXX   X  X    XXXXXXXXXX X          X X        XX XX      0.00    0.00              1     1       30

  • Timeline and full screen view in PSE11

    I have read as many reviews of PSE11 as I can find but none have mentioned the Timeline, which I use every day. Does it still exist in PSE11? What about the full screen view and compare side by side view? Do they still exist. If they do, can you still see the image full-size by clicking on it in full screen view?

    Timeline and Full Screen View exists in PSE11 and all the earlier functionalities present in full screen view are present. The Timeline and Full Screen View can be accessed from View menu of Elements Organizer.

  • How do I insert additional clips into my video timeline in Elements 13?  When clicking 'add media' it added the clips at end of video rather than in their appropriate position.  Could not 'cut and paste'.

    How do I insert additional clips into my video timeline in Elements 13?  When clicking 'add media' it added the clips at end of video rather than in their appropriate position.  Could not 'cut and paste'.

    bhsleadership
    I am in the process of preparing to test a sample from your brand and model camera in my Premiere Elements 8.0/8.0.1 on Windows 7 64 bit. I will have the results probably tomorrow morning.
    For now I just want to put you through the drill that I do for anyone who says he/she is using Premiere Elements 8.0/8.0.1.
    1. Are you working from the 8.0/8.0.1 Update of the program?
    http://www.adobe.com/support/downloads/detail.jsp?ftpID=4653
    2. Do you have the automatic Background Rendering and AutoAnalyzer features turned OFF.
    For Background Rendering option. See Edit Menu/Preferences/General.
    For AutoAnalyzer option. Click on Organizer in the row below the blue active Organize header in order to open the Elements Organizer. In the Elements Organizer workspace, go to Edit Menu/Preferences/AutoAnalyzer Options and disable all the AutoAnalzyer options. To return to the Premiere Elements workspace from the Elements Organizer workspace, in the Elements Organizer workspace, go to File Menu/Exit.
    Is your computer optimized in spite of the fact that  you have a high end laptop? I presumed so but always go to verify, no pile ups of preview files, conformed video and audio files et al.
    Looking at the properties of your source media, I see:
    video compression = MPEG1
    audio compression = MPEG-Layer1 (.mp2)
    Frame Size = 640 x 480 (4:3)
    Pixel Aspect Ratio = 1.0
    Frame Rate = 30 progressive frames per second
    With properties like those you are sure to get a red line over that content since there is no project preset with that description.
    But, your choice of the default NTSC DV Standard would have been mine also.
    I am heading to try to get a quick look at the behavior of the sample video here in my Premiere Elements 8.0/8.0.1.
    To be continued.
    ATR

  • How to leave full-screen view in Acrobat LE on HTC Touch Diamond?

    Hello
    I have entered full-screen mode in Adobe Acrobat LE on my HTC Touch Diamond, but I cannot leave full-screen mode. There is nowhere on the screen that gives me a button to leave full-screen mode?!
    I have tried using the buttons below the touch-screen but I have found nothing that works.
    How do I leave full-screen mode??

    Hello again.
    Well I have tried almost everything with the stylus: Zoom operations (rotations), tapping the screen, pressing and holding, double tapping... nothing allows me to exit fullscreen nor get any on-screen menus to appear!
    I must admit that I am very new to the HTC Touch Diamond so maybe I am being stupid, but I really can't find any way of getting any menus or anything else to show up once I have entered full-screen viewing. My only option is to exit Acrobat by pressing the back button below the touch screen, and then I of course leave Acrobat completely.
    Please tell me how exactly I must use the stylus to exit fullscreen?
    Thank you :-)

  • Working alternating with iPhoto and FCE tgrying to import pictures from iPhoto into FCE suddenly all my 22300 pictures disappeared leaving empty frames. Does somebody know where the pictures could have gone and how can I get them back into iPhoto? Lothar

    Working alternating with iPhoto and FCE tgrying to import pictures from iPhoto into FCE suddenly all my 22300 pictures disappeared leaving empty frames. Does somebody know where the pictures could have gone and how can I get them back into iPhoto? Lothar

    The ! turns up when iPhoto loses the connection between the thumbnail in the iPhoto Window and the file it represents.
    Option 1
    Back Up and try rebuild the library: hold down the command and option (or alt) keys while launching iPhoto. Use the resulting dialogue to rebuild. Choose to Rebuild iPhoto Library Database from automatic backup.
    If that fails:
    Option 2
    Download iPhoto Library Manager and use its rebuild function. This will create a new library based on data in the albumdata.xml file. Not everything will be brought over - no slideshows, books or calendars, for instance - but it should get all your albums and keywords back.
    Because this process creates an entirely new library and leaves your old one untouched, it is non-destructive, and if you're not happy with the results you can simply return to your old one. .
    Regards
    TD

  • Need to mix 24 and 30fps into a single timeline.

    Hi there,
    I have 2 files which are AVCHD 1920x1080 but one is 23.976 while the other is 29.97.  I know PPro can mix both into a single timeline but I was curious what I should set the sequence settings as.  How should it be exported? Does one convert better than the other?
    I am happy to pre-convert the framerate as well before editing, but again, I'm not sure if one is better to convert than the other.
    Thanks!
    -Stephen

    Use a 29.97 sequence.  The 24p capture is likely wrapped in a 30i stream anyway.

  • It's impossible to go into management when it is full

    Hey, you write that my ecloudkonto is full and that I should handle it. But it's impossible to go into management when it is full

    I suspect you have another issue, I've filled my storage at times when testing iCloud and can still access 'manage'.

  • When using Final Cut Express, the video in the Viewer window looks fine, but when I insert the video into the Canvas Timeline it appears to lose resolution, and look fuzzy and blurry. Are there preferences or settings for the Timeline that cause this?

    When using Final Cut Express, the video in the Viewer window looks fine, but when I insert the video into the Canvas Timeline it appears to lose resolution, and look fuzzy and blurry. Are there preferences or settings for the Timeline that cause this?

    Thanks David. I had to convert the mts file to Quick Time (using AunSoft Conversion software) before I could import it into Final Cut Express. And I made sure I kept the size of movie (720 X 480 with letterbox) to compliment what I set my Panaconic AVCCAM video recorder at (720/60). Even after I fully render it, it still looks fuzzy in the Canvas window at the right that plays what I have editing down in the Timeline. A friend that edits some using Final Cut Pro helped me to narrow things down to this problem. This is also wierd. If my Viewer window at the left is set to 200% to get the person's head the same size in the Canvas window at the right we needed to put it to 400%. Does this make any sense. We think we need to control the Time line resolution somehow but cannot find any options from my manual, or the help, or in the various drop down menus. Do you have any clue? What is going on?

  • 1080 video imported into a 720 timeline is blurry

    I am using CS5 and I am trying to import 1080 video into a 720 timeline.  When the video is played it appears out of focus.  When it is not being played it is sharp.  What is going on here?  Am I missing some sort of a conversion step along the way?

    Try putting it in a 1080 sequence and nest it into the 720 sequence.

  • Time to upgrade to Full Frame

    Team,  I currenlty own a 70D and a T3i with a bunch of EF-s lenses. My question is wether to upgrade to a couple of L lenses or upgrade to a full frame camera.  Ideally I love to have a Mark III but a 6D is more realistic.   My budget is about $3500 I do real estate photography with some portrait side gigs on the side, no weddings or big projects.  Will it make sense to keep my 70D with some prime lenses for portrait photograpy?  or go full frame is there much of a difference if i used a 70-200 2.8L lens on a 70D then a 6D?  your help and expertise is greatly appreciated.  

    Unless you want to get into really high end real estate photography, I'd suggest you stick with your 70D for now and start gradually changing your lens line-up, with a goal to build a system that will eventually allow you to add a full frame camera to use alongside the crop sensor camera. There are advantages and limitations with both sensor formats. I use both crop sensor and full frame cameras (a pair of 7D and a 5DII in my case, right now). I prefer the crop camera for sports/action and anything requiring longer telephoto lenses. And I like the full frame for landscape, architecture, portraiture and sometimes for macro work. One of the reasons I choose the full frame for portraiture is control over depth of field. Now, DoF is governed by lens focal length, working distance and lens aperture.... it doesn't actually change due to different sensor formats. However, in order to frame a subject the same way with a full frame camera, it's either necessary to use a longer focal length or move closer to the subject, or a little of both. Changing either distance or focal length will tend to render shallower depth of field. Conversely, full frame cameras can use smaller apertures before diffraction becomes an issue, so a FF also has some advantage for macro work or for landscape/architecture where great DoF is often wanted.  In generaly, there's a bit less lens selection for FF, though it's still quite extensive in the Canon system. This is because a FF camera can only use EF lenses, while your crop sensor 70D and my 7Ds can use both EF-S/crop-only and EF/full-frame-capable lenses. Also in general lenses for FF cameras will be larger, heavier and more expensive. It's most noticeable with telephotos, of course, but to some extent is true even with wide angle. IMO, on 70D a 70-200mm is a bit long for a lot of portraiture work. My most prefered lenses for portraits with a crop sensor camera are 50/1.4, 85/1.8 and 24-70/2.8. On full frame, my most frequently used portrait lenses are 85/1.8, 135/2, 70-200/4 and 70-200/2.8. Sure, there are times that wider and longer lenses can be useful for certain types of portraits. But these are what I use most often and feel are the most basic or "traditional" focal lengths for the purpose. Short telephotos generally render the most ideal perspective for portraits. Also, I mostly shoot candid portraits, not posed. Because that often means working with less than desirable backgrounds, I prefer larger aperture lenses that allow me the option to blur down distractions behind (and sometimes in front of) the subject. If shooting in studio or more posed at a planned location, with more control over the background and other elements, it would be different and large aperture lenses would be less necessary. Real estate photography work often calls for a wide angle and a lot of depth of field. With your crop camera, the EF-S 10-18mm you've got probably sees a lot of use. If you were shooting full frame, you'd probably want EF 16-35/2.8 or EF 16-35/4... or EF 11-24/2.8 (but that would use up most of your budget and not leave room to buy a camera to use it on).  Tilt shift lenses such as the TS-E 17/4 and TS-E 24/3.5 II are also top choices for architectural photography. Compare size, weight and prices. Also, if you use filters a lot, some require larger (16-35/2.8 II uses 82mm) and the TS-E 17/4 and EF 11-24/2.8 both have stongly convex front elements that won't allow standard screw-in filters to be used at all. There aren't many truly wide lenses for crop cameras that are also FF compatible. The EF 11-24/2.8 is one of very few. The EF 14/2.8 II is another. So, to use the crop camera for wide angle shots, you'll probably want to keep at least one or two EF-S/crop only lenses. The EF-S 10-22mm is an older lens than the EF-S 10-18mm, but is a little better built and with more edge-to-edge image sharpness... it's one of the best ultrawides made by anyone... but costs about 2X as much. If it were me, I'd prefer the Canon EF-S 17-55/2.8 IS USM over the Sigma 17-70... but once again this is a "crop only" lens. For dual format purpose, one of the 16-35mm or the EF 17-40/4 might replace it better and be able to serve on both camera formats. I use a little longer 24-70 and 28-135 as my "walk around" or mid-range zooms.    6D is a nice camera and, compared to 70D, would be desirable for very large prints or for low light/high ISO shooting situations. That's because full frame images need less magnification for enlargement and use bigger pixel sites that capture more fine detail, both of which allow for bigger prints. Not that you'd notice much difference with 13x19 or smaller prints. And certainly you wouldn't be able to tell any difference at Internet resolutions if a lot of your stuff ends up on websites. Because the FF camera's 20MP sensor is so much less crowded than the 20MP crop sensor, there is less heat and less cross talk, making for cleaning or less noise in very high ISO images. The difference would be most noticealbe at ISO 1600 and above.   The 70D has a more sophisticated and versatile AF system, except that the 6D's can still manage to focus in one or two stops lower light (center point only). 70D has 19-point AF that's similar to original 7D, active matrix focus screen, and zone focus in addition to the all points/auto and single point/manual focus patterns offered by all Canon DSLRs. The 6D only offers the last to focus patterns, doesn't have zone, and it has a fixed (but interchangeable with a few types) focus screen. 70D's active matrix focus screen makes possible the camera's  "grid on demand" feature that can be turned on or off via the menu, and which can be quite handy when shooting architecture inside or out. With 6D you can get similar grid in the viewfinder, but to do so would need need to swap out with a separately sold, accessory "D" type focus screen. In 70D all nineteen AF points are the more sensitive dual axis/cross type, with the center one enhanced for f2.8 and faster lenses. 6D's eleven AF points have only one dual axis/cross type... the center point... while all the others are single axis type. Either camera's AF system is probably more than adequate for what you say you shoot primarily. If you were shooting sports/action/wildlife/birds, the 70D's AF system would likely be more ideal, though... so I'd rate it as more versatile. The 6D's would be a better choice for low light work, though. 70D also has articulated LCD screen and built-in flash, while 6D has neither of those features. The 70D and 6D share batteries, chargers, memory and have mostly similar control layouts, always nice when using two different cameras interchangeably for various purposes. So, if it were me, I'd probably keep shooting with the 70D and work on lens upgrades first, then add the FF camera later. But that's just me. Your needs might be different and call for another approach. ***********
    Alan Myers
    San Jose, Calif., USA
    "Walk softly and carry a big lens."
    GEAR: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
    FLICKR & EXPOSUREMANAGER   

  • Has anyone experienced this problem: I am editing in FCP 7.0.3 on a Mac 10.6.8 - I have a clip in the browser that is full frame and matched the other clips but when I drop it in the time line it becomes a fully zoomed in version of itself

    has anyone experienced this problem: I am editing in FCP 7.0.3 on a Mac 10.6.8 - I have a clip in the browser that is full frame and fine and it matches the other clips in my bins but when I drop it into the time line it becomes a fully zoomed in version of itself and I can only see a small portion of the image.  What's going on?  I've noticed this has happened in the past randomly with other clips and it's driving me cray cray!  Any help appreciated greatly and thanks in advance for taking the time

    In the FCP Browser, click on the source clip that is showing up sized incorrectly to select it. Once it is selected, type Command + 9 to see the item properties for the clip. Either report those properties here, or take a screen shot of the item properties and post the screen shot here.
    Next, click anywhere in your sequence timeline and then type Command + 0 {zero} to see your sequence settings. Either report those settings or take a screen shot of the sequence settings and post that screen shot here.
    MtD

  • Project not showing full frame in a compound clip

    Hi Folk;
    I am finishing my first project in FCPX (10.0.9) . Overall everything went very well.
    I had another editor start the project on another computer.
    I copied the event to my iMac and continued the edit. No problems until I exported the project for the client review.
    I have a compound clip with mixed footage and a storyline and connected clips that I have used in a project with several compound clips.
    I can play this particular compound clip fine and all the video displays fine. (see picture #2)
    I lay the this Compound clip into the project and I get less than full frame out in my "storyline" elements - especially after the orange render bar disappears -
    I sent the client a version with the "drop out" video (see first pix below where image does not reveal full frame ) and have spent a few hours looking for a cause for my issue. I am wondering if I am the only one dealing with this.
    I have created a work around - exported the compound clip and reimport it as a full clip and layed it into the timeline.
    The setting for the compound clip are XDCAM sony and the footage that is at issue is AVCHD from a panasonic.
    I have several events providing footage for the compound clip
    The project has seveal compound clips from different events
    The event folder I created seems to be where the issue lives. or maybe the render -
    I am using orginal footage not proxies.
    I want to avoid this in the future so any insight is helpful.
    I feel I have made a mess of my first project and want to clean up any bad habit that may be causing my problem.
    Thanks for the opportunity to diagnos this.
    I am sure this is as clear as mud.
    Cheers!

    when you first create a new project, FCPX *can* be set to accept "Automatic Settings" -- basically, it will take the properties of the first clip dropped in the storyline. This can be very convenient if you know the media will be all the same, or you know how to manipulate the "first drop". 
    If you know the format you want your project to be, it's better to set that up manually when you start a new project (Advanced Options). When you apply your media to the storyline, FCPX will conform the media to the project settings. It doesn't always work perfectly (due to custom or proprietary differences in file formats for the containers holding the media.) For instance, one of my older (SD) camcorders produces "Samsung AVC" (from Get Info on the file) and FCPX simply will not recognize the anamorphic footage.
    Anyway, so, yes, I would suspect the 1440x1020 footage might be problematic. (Are you sure it's 1020?? or did you mistype? If it's actually 1080, it still might be giving you problems. All of my 1440 footage requires manually adjusting the width by 133.33%).
    You can force a change for your project by clicking going out into the Project Library and with your project selected, you should see a wrench icon at the bottom right of the inspector. Click that and adjust your project settings (you cannot change the frame rate once a project is started, but you can change just about everything else.) Once you get the format set up (and you go back into your project), then you'll know which clips will need to be adjusted. If you have footage that won't fit the frame, you will probably need to go into the video tab > Transform, turn down the Scale disclosure triangle and adjust the X scale (usually) and Y scale (only if necessary.) If the footage you need to conform is SD, there is an Anamorphic Override option available in Info > Settings.
    About compound clips... FCPX tries to guess a format based on "common" properties. If you're creating compound clips with mixed media - Use  Custom Settings and set the properties to be the same as the project format.
    HTH

  • Removing event listeners on leaving a frame

    Hi team,
    I am having a bit of trouble, I have l modded some code that I am really happy with, it makes buttons bounce around for the user to try to click on when entering a certain frame...
    Problem.. I notice tha the code adds eventlisteners ENTER_FRAME to make this work, when you leave that frame there are now problems with null objects becuase the listeners are still on but the objects are not there anymore..
    Ok so attempted solution - I can use a currentLabel on the main timeline to check if the correct frame is reached then use a function if (label is x) put listeners on else take them off... works but then I have to have these objects hidden on the timeline  and then add visible=true/false to my framelabel listener.. This works but part of my functionality here is that these movieclips that move are buttons that the user clicks on and they explode and dissapear- but now they dont because I have a code that says on that frame they should be visible..
    The only thing I can think of is to have a blank frame at the end of the explode and put a stop on it.  Then add a gotoAndPlay(1) into my frame label code.  Seems very ugly, you guys got a better way?  Can I remove eventlisteners on leaving a frame?  Is there a code like LEAVE_FRAME????
    cheers
    sub

    yes, it goes in the keyframe where those movieclips exist.  if the movieclips exist on a main timeline frame, that's where that code should be placed.
    that code should execute when the movieclip exists.  the listeners wait for the movieclips to be removed from the display list.  that happens when you navigate away from the frame that contains those movieclips.

Maybe you are looking for