Best way to conform to 24fps

I have some videos(29.97fps) what I want to conform to 24fps.
What is the best way to do?
thx

Cntl-Click on one of the files, open with Cinema Tools, click conform in lower right corner select frame rate. You can also Batch conform from the File menu in Cinema Tools.
You do understand that conform means modify playback speed so each individual frame is retained but play at a different speed. Conforming 29.97 to 24 (or 23.976) will slo-mo the video to approx 80% of normal.

Similar Messages

What is the best way to conform 60fps footage to 24fps without slowing it down?

So I understand how to time remap and how to reinterpret frame rate of 60fps footage to slow it down, but I am at a loss as to how I can make it 24fps without just rendering it as such, which will give a stuttered export.
I am shooting on a Rebel t3i which only allows me to shoot in 720p at 60fps. Is there any way to drop the frame rate of footage without changing the duration while maintaining the quality?
Thanks for any help in advance!
Shiraz

After Effects would probably do a better job, since its frame interpolation algorithms are capable of smoother results, at the expense of greater processing time. It's a similar process there--drop the 60p clip in a 24p comp, and enable Frame Blending for the footage item and comp. Frame Mix is approximately what Premiere Pro does, but Pixel Motion is more sophisticated: Adobe After Effects CS5 & CS5.5 * Frame blending
There's also the Time Warp plug-in in AE, as well as third-party plugs like Twixtor.

What is the most versatile way to conform production audio after the edit has started?

This problem keeps coming up on various projects and I have yet to find the best way to recover from it: A project will be synced with incomplete production audio. Either it will be delivered to post late or an AE brought it in with the incomplete number of channels.
I'm trying to find the best way to conform audio to an edit that has already been cut with all channels accessible in the timeline. FYI, the audio I would need to conform usually has the same timecode as the audio already in the cut. It sort of works to match frame and resync to the original nested/merged clips but if, for example, the audio is 5 channels the audio shows up in the timeline nested as 2 channels. This means every time I need to do a production audio edit I have to match back to the nested clip and edit there instead of the actual edit itself.
I know I must be missing something here that could make this really easy to recover from. Often the circumstances in which this happens are completely out of my control.

If the channels always matched, I'd say the easiest would probably be to just replace the old audio on the hard drive with the new, delete all Cache files and rebuild.
Given the difference in channels, I think the easiest solution may simply be to not begin editing until you have final audio.
Failing that, you just might be stuck with a tedious mess.

What is the best way to setup premiere sequence for export when mixing 24fps and 23.976fps for final

What is the best way to setup a premiere sequence for export when mixing 24fps (CG) and 23.976fps (live action) for final output at 23.976 (vimeo and such).
Right now my sequence is at 24fps, and when I export to 23.976, my dialogues seem to shift.
Should I set my sequence at 23.976fps instead of 24fps?
Thanks in advance for the help, and sincere apologies if this is a noob question.
David

That makes it easy. Remove the CGs from the project. Go to Edit>Preferences>Media... and set the Indeterminate Media Timebase to 23.976. Then when you import the image sequence, PP will assign it the correct frame rate.
Edit in a 23.976 sequence.

GoPro Hero 3 Black .mp4 footage import--current best way?

I've read a lot in these forums about importing .mp4 footage into FCPX. It seems that it used to be the case (and maybe still is?) that FCPX either wouldn't import .mp4 files, or wouldn't do a good or reliable job if it did.
I've been shooting some footage with a GoPro Hero 3 Black. FCPX seems to import it just fine. But I'm not sure if that's the best way to do it? Should I be using another program (like GoPro's Cineform software) to first convert the Hero 3 .mp4 files to .mov files? Or should I just let FCPX do it?
Also, I noticed something that seems odd when I'm importing these .mp4 files: If I import them directly from the SD card that the GoPro stores them on, I can select in and out points in the .mp4 clips I'm importing. But if I first copy the .mp4 files from the SD card to one of my hard drives, I cannot select in and out points when importing (I have to import the entire clip). Why is this?
(I should mention, in case it is relevant, that the clips I cannot select in and out points for [the ones that I first copied to my hard drive] are 1080p 60 fps, and the ones that I can select in and out points for [the ones I'm importing directly from the card] are 720p 120 fps.)

This is easy. I do it all the time. FCPX ingests GoPro footage just fine. Optimize, and you're good to go.
BTW: A common hiccup occurs when dealing with over-cranked footage. (60fps or 120fps.) Be sure to "conform speed" to actuate the slo-mo. 'Tis also important to designate your project / timeline at 24fps or 30fps to realize the speed difference.
I've gotten burned in the past. I'll drag my over-cranked GoPro footage to the timeline. As it is the "first" clip layed into the timeline, the project assumes THAT speed as a default. (As per my preferences.) Thus, when I "conform speed," nothing seems to happen. That's because my project is displaying at the higher rate. A 60fps timeline showing footage shot at 60fps looks "normal speed."
FYI. (And disregard if you know all this.)

Best Way to Media Manage and Setup Disks?

Hi Guys,
I have a job coming up soon. It would be great to have some advice on how to manage the media properly and setup the Scratch disks.
It will be shot on RED @ 24fps, with audio recorded separately, to be synced in FCP (6.0.5 I believe).
We will have 4 internal SATA drives on the 3 Mac Pros (2 editors, 1 assist), all independent of each other, not on a SAN or other network.
What would be the best way to setup these disks as scratch disks? Partitioning, with picture dailies on one drive's partitions, then sound dailies on another drive's partitions? Then perhaps Renders on another drive's partitions, with the project itself running off the system drive?
Or perhaps a striped RAID 0 of all the 4 internal SATA drives?
I'm thinking that we may transcode the R3D Raw files to Apple ProRes 422 before syncing/cutting.
I will need to be copying media and projects between stations, to update each editor with latest dailies media, dailies bins and latest cut sequences.
Any help would be greatly appreciated!
Many thanks!

What would be the best way to setup these disks as scratch disks
Get a good drive or Raid array and format it as one drive. Then go to the System Settings and choose that drive as your Capture Scratch drive.
Partitioning, with picture dailies on one drive's partitions, then sound dailies on another drive's partitions?
No. Why do that? What is the point of partitioning and doing that? Just make folders on the Capture Scratch for what you need. FCP makes them automatically for footage you capture via Log and Capture or Log and Transfer. If there is footage you just Import...like audio files...then make a folder for the audio files and organize it like you think you should. Then Import.
Then perhaps Renders on another drive's partitions, with the project itself running off the system drive?
No...Renders can be on the same drive and partition. Where are you getting this idea that you need your media spread all over ****-and-gone? But you are right about your project file, that resides on your system drive, and you need to back that up daily onto your RAID, or other separate drive.
Or perhaps a striped RAID 0 of all the 4 internal SATA drives?
LORD no. You have 4 drive bays...one is used for the Operating System...do NOT raid that drive and then store media on it. And Raid 0 is fast, but not secure. One drive goes, the entire raid goes. Get the CalDigit RAID card and stripe THREE of the internal drives as a RAID 5...then you can get the HD ELEMENT as an external add-on if you need to expand. Or start out with an external RAID, like the Caldigit HD One, or Maxx Digital EVO HD.
I'm thinking that we may transcode the R3D Raw files to Apple ProRes 422 before syncing/cutting.
That is wise. Or edit with the proxies, then conform when you are done, saving drive space.
I will need to be copying media and projects between stations, to update each editor with latest dailies media, dailies bins and latest cut sequences.
Sort by DATE...that way you can grab all the new stuff. KEEP THE DRIVE NAME THE SAME...and keep the drive file and folder structure EXACTLY the same, and you will never need to re-connect.
Shane

What is the best way to import and edit a large amount of footage?

Hello Apple world,
As a newbie to Final Cut 10 I have a question regarding best ways to import footage. I'll give you a quick run down.
I have a 150 gig of gopro footage that I just hit 'import' to recently (from my external HD), it took around 10 hours to process it all.
Its all under one event, but then somewhat organised into dates etc. But it is very slow. I imported it all at once because it was all footage from the last 6 months of my Whistler/states/fiji trip and want to make a movie out of it, using clips from all over the time, not just in chronological order.
I have the latest mac book pro, 4 gig ram,2.4 GHz i7, 750 hard drive, with nothing else on the computer.
Ive read about creating proxy media, after ive imported, but am still somewhat confused as to the benefit. Does it create duplicates? that will fill up my pretty large HD as it is!
Can you suggest any ways that might make my laptop run a bit faster? Should i delete and work directly from external HD etc etc?
Any suggestions will be greatly appreciated!
Thanks in advance
Harlee

ascreenwriter wrote:
Hello,
I've just finished shooting what I am considering to be my directorial masterpiece. Shot it on the Canon 5D (1080p, 24fps), and the footage looks amazing. Now I am ready to start editing and have been using premiere lately, but I have yet to figure out the proper pipeline. I want to know the best way to retain resolution before I delve into this project.
My questions:
1) What is the best way to start a new project and import the footage without having to render whilst editing, so as to retain all resolution and originality of the source footage?
2) What is the best way/ codec/ format to export this same footage once editing is complete so as to retain that crisp 1080p for which the 5D is so recognized?
3) What is the best way/ codec/ format to import and export/ render between premiere and after effects? I am speaking mostly of vfx and color correction. I also have some 30fps footage that I intend to slow down in AE and then import into premiere.
I know this is pretty broad, but as a solo filmmaker I really need someone's guidance. I rarely ever finish my films with the same, crisp look as the footage. I need pipeline help, and really appreciate it!
1. Follow the advice above. Also use the Media Browser to import the footage in case you have spanned media files. Import files with the Media Browser.
2. It largely depends on what you wish to ouput to: Blu-ray, web, etc. This FAQ gives the best answer: What are the best export settings?
3. Use the Replace with Adobe After Effects Composition function.

What is the best way to import and export footage from the 5D Mark II?

Hello,
I've just finished shooting what I am considering to be my directorial masterpiece. Shot it on the Canon 5D (1080p, 24fps), and the footage looks amazing. Now I am ready to start editing and have been using premiere lately, but I have yet to figure out the proper pipeline. I want to know the best way to retain resolution before I delve into this project.
My questions:
1) What is the best way to start a new project and import the footage without having to render whilst editing, so as to retain all resolution and originality of the source footage?
2) What is the best way/ codec/ format to export this same footage once editing is complete so as to retain that crisp 1080p for which the 5D is so recognized?
3) What is the best way/ codec/ format to import and export/ render between premiere and after effects? I am speaking mostly of vfx and color correction. I also have some 30fps footage that I intend to slow down in AE and then import into premiere.
I know this is pretty broad, but as a solo filmmaker I really need someone's guidance. I rarely ever finish my films with the same, crisp look as the footage. I need pipeline help, and really appreciate it!

ascreenwriter wrote:
Hello,
I've just finished shooting what I am considering to be my directorial masterpiece. Shot it on the Canon 5D (1080p, 24fps), and the footage looks amazing. Now I am ready to start editing and have been using premiere lately, but I have yet to figure out the proper pipeline. I want to know the best way to retain resolution before I delve into this project.
My questions:
1) What is the best way to start a new project and import the footage without having to render whilst editing, so as to retain all resolution and originality of the source footage?
2) What is the best way/ codec/ format to export this same footage once editing is complete so as to retain that crisp 1080p for which the 5D is so recognized?
3) What is the best way/ codec/ format to import and export/ render between premiere and after effects? I am speaking mostly of vfx and color correction. I also have some 30fps footage that I intend to slow down in AE and then import into premiere.
I know this is pretty broad, but as a solo filmmaker I really need someone's guidance. I rarely ever finish my films with the same, crisp look as the footage. I need pipeline help, and really appreciate it!
1. Follow the advice above. Also use the Media Browser to import the footage in case you have spanned media files. Import files with the Media Browser.
2. It largely depends on what you wish to ouput to: Blu-ray, web, etc. This FAQ gives the best answer: What are the best export settings?
3. Use the Replace with Adobe After Effects Composition function.

Step by Step, what's the best way to shoot slow-mo in HD?

I've read so many articles on here about doing slow motion shooting in final cut but everyone of them left out some important details.
i wanted to see if anyone could give me a step by step on how the best way to shoot something in slow motion in HD would be?
i'm probably planning on just doing this in 720 instead of 1080, but i don't want that to begin to be the topic of discussion, just how how to do slow motion.
some things i want to know about it:
-what is a good shutter speed for this to make the movement look as smooth as possible
-how many frames per second should i shoot? (my camera only goes up to 60fps)
-should i use Cinema Tools in any way?
-any adjustments i might need to do to the timeline in final cut when i drop it in there?
-also, i'd want my whole project video to be done in 720/24p, but i'm guessing for the one shot i want in slow motion i'd have to shoot 720/60p. what do i need to do to get the 60fps footage to work right in a timeline set for 24fps?
if you can't answer all of them, just some help would be greatly appreciated! Thanks!!

-what is a good shutter speed for this to make the movement look as smooth as possible< </div>
that's a tough call because the shutter speed will be determined by three things, your ability to understand what we tell you here, yoru photo subject, and the lighting conditions and ability to control them.
-how many frames per second should i shoot? (my camera only goes up to 60fps)< </div>
You can stop there, 60 is not nearly enough to achieve "smooth as possible" slow motion. You need at least 90 frames per second, 120 is even better, 180 is fabulous. You can research "overcranking," temporal resolution, and shooting slow motion for may hours on google.
Post processing a video clip using optical flow is not a viable solution for most subjects. You must consider renting a camera that will do the job properly. If 60 fps is all you're willing or able to shoot, then you must diminish your expectations and carefully consider your photo subject.
bogiesan

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I'm running a struts-based webapplication using the tiles-templates for my layout. Now I have to use some javascript-code for a pop-up window and another javascript for tracing on multiple pages but in different combinations. As I do n't want to copy-paste it on every page, but put it on a single place for better maintenance I'm wondering what would be the best way to do this together with the struts-logic.
I thought about the following options:
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<template:put name='js' content="/myJavascripts.jsp"> I don't think this would be a good option, as I always have to include the whole javascript and I cannot distinguish between my two different javascripts
2.) Using the template:insert feature like this:
<template:insert template="/myJavascripts.jsp"/>. This is a lot better, as I can split my two javascripts into two different files and can always decide, which one to include with the template:insert tag. But I'm not sure, if this is conforming with the struts-concept, as I do not use any template:put or template:set tags
3.) Using simple jsp:include or <%@ include ... %> tags.
This would be the easiest way to include my pages with <%@ include file='/myJavascripts.jsp' %>. Same advantages like template:insert but I don't need the additionally features of the template:insert-tag. But still the same question: is this the concept of struts? Or will I become any difficulties with this concept later??
Any recommendations or further ideas are greatly appriciated.
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Getting PDFs to download is fairly easy and the method is described here.....
http://www.iwebformusicians.com/WebMusic/PDFs.html
To get multi page docs to display in the browser requires the use of Google Docs viewer, ISSUU or some such thing....
http://www.iwebformusicians.com/PromoPage/ISSUU.html
Safari is the only browser I know of that will display PDFs in an iFrame without a plugin.

What is the best way to handle .mod files in premiere pro cs4?

I recently got a JVC Everio GZ-MG130u and as I'm sure many of you are aware, it saves footage in the .mod format.
I have googled this and found quite a few different solutions, but I'm just wondering if anything has changed since some of these solutions were posted, or in other words, what is the best way at this current point in time to handle .mod files in premiere pro cs4?
As far as I know, the best thing to do is convert the .mod to .avi and then import it into premiere so it can be edited.. Is there a better way to do it than this? Also, by doing it this way, will I have separate audio and video tracks?
Thanks.

I have just done a bit of reading, here. All of the quotes that follow are from users who have posted in that thread.
It seems that there isn't one solid answer on this subject. The thread that I linked to was started 2 years ago, and replied to just 4 ago, so it's relatively current.
I noticed a couple different interesting statements:
posted by mmontgomery:
In the case of .MOD, you are actually getting a MPEG-2 file. The way
video files work is that there is a codec (COmpressor/DECompressor)
algorithm and a file wrapper (or extension). A JVC .MOD file is a
MPEG-2 encoded file, with a .MOD extension.
You're faced with two
challenges, first the .MOD file type is only recognized and support by a
few applications. I think we covered some of those already. The
interesting thing about wrappers and extensions is that they can be
dealt with in a variety of ways. Sometimes all you need to do to convert
the video file to a compatible video file is to change the extension.
In the case of .MOD files that's not enough. The .MOD wrapper apparently
does a few more things than just bare a unique extension name. It
requires a slightly more complicated method to convert that file. That
is why there is supplied software and that certain third party
applications have .MOD support.
(posted 2 years ago)
This seems to indicate that Ann's solution of simply re-naming the extension is not good enough, unless I am mis-interpreting what she meant.
However, another user said:
posted by futball8:
I edit with Adobe Premiere Pro CS3. All I have to do is simply rename
the .MOD files as .MPG and then import into PP CS3. It takes a small
amount of time to conform the audio, but no file conversion is
necessary. It's a pretty slick workflow and I've never encountered any
problems editing them this way.
(posted 5 months ago)
One can only assume that simply re-naming the extension from .mod to .mpg works in some circumstances, and doesn't work in others. I assume it depends largely on the editing software being used. Perhaps there are still issues that futball8 was simply unaware of or never encountered.
That said, there seems to be a couple of different real solutions to this problem that I have found:
1. Simply use an editing program that supports .mod file format. While pe7 and pe8 supposedly support the .mod format, the following should be noted:
posted by macksgarage:
While Elements 'supports' these files, it is markedly unstable and frequently crashes while using the files, though the application is otherwise reliable. The solution I have arrived at is to repair the container using ffmpeg. (see #3)
(posted 5 months ago)
2. Use a file conversion utility of your choice that will covert .mod to .avi, or another desired format. Import the resulting .avi file into premiere pro cs4.
3. Use FFmpeg. This seems to be the best solution as it does not convert any audio or video:
posted by macksgarae:
If you are not familiar with ffmpeg, it may be a bit of a bear to
learn, but it's not only useful for this, but functions as a video swiss
army knife useful for splicing, muxing/demuxing, and rendering just
about any format into just about any other format.
ffmpeg is an open source project from the linux world, but it has
been ported and is supported on windows. Fetch it here and place it somewhere handy
on your system.
To rewrite the container into a nice, standards compliant .mpg file
that doesn't make applications die, WITHOUT rerendering video or audio
itself, I use this command.
ffmpeg -i INFILE.MOD -acodec copy - vcodec copy OUTFILE.mpg
This not only renames the file, but actually rebuilds the container
around unmodified video and audio data, yielding a file which works much
more stably with Adobe applications, and presumably others as well, as
ffmpeg's open source development goals result in very standards
compliant files.
(posted 5 months ago)
Now, this seems to properly address the issues that can arise from simply renaming .mod to .mpg, as suggested by Ann. So from this point, I assume you can simply import the .mpg into Premiere Pro cs4 (or any other .mpg compliant program) and edit without issue, but it seems like I remember hearing something about Premiere not liking mpegs or something like that, so in that case, maybe it'd be better to skip this and go with option #2. But, it's been awhile since I've touched any NLE, much less premiere pro cs4, so I could be completely wrong and it may have no problems handling mpegs.
All of the things that I've quoted here came from the same thread, so I don't know how accurate any of this is, but the people that have posted these things seem fairly knowledgeable. If someone reads all of this and can confirm or deny any of it, it would be much appreciated.
Option 1 is not really an option for me, because I am sticking with premiere pro cs4 -- I'm not going to get another editor just because it has .mod support. That leaves me with options 2 and 3: Convert to avi, or change the file wrapper/extension properly with FFmpeg and then simply import the resulting .mpg file... Which is better? Or is there yet another solution that I am unaware of that would be even better?

What is the best way to work with mixed media in 1080 timeline?

Hi there,
I have a project shot mostly in 1080 24p but a bit of 720 24p and 4x3 30p footage.
What is the best way to work with this mixed media?
Thanks!
Steven

Hi Shane,
Ok just to recap (thanks for being patient by the way)...I have put some questions in here...feel free to write in caps to respond and we'll put this baby to rest!
1) I will work in a 1080p FCP sequence, correct?
2) HD 1080p footage captured as applepro res hq I will leave as is and work with?
3) HD 720p footage which was captured as applepro res hq. Can I just drop in 1080 timeline and let FCP do its work? Or should i run through compressor, if so what setting shall I submit it too?
4) I dont have a budget for an external hardware to convert SD to HD...should I capture my SD Beta through Final Cut and just leave and let FCP do its work? Or should I run through compressor? If so what setting shall I submit it too?
5) For for my master sequence in FCP am I not using an I-Frame format apple pro res if I am using my apple pro res hq 1080 footage as my formatted sequence? I am not sure what you mean by GOP?
6) I also found some 60p footage 1080p XDCAM compressor shot with the same XDCAM camera. I put in the 1080p 24p timeline but it was pretty choppy...any ideas of this conform?
Thanks very much for all your help it has gone along way,
Steven
Saying what CODECS you are working with was my question. 1080, 720, 4:3...really says nothing. There are a dozen 1080 codecs, another dozen 720 codecs, and nearly 100 4:3 formats.
Best to capture all the footage to one uniform codec.
Second best is to work with one format and let FCP conform the rest to that...IF and only IF that format is an I-Frame format like ProRes. GOP formats as master sequence formats cause TONS of issues.
What I'd do is work 1080 ProRes, just add the 720p footage (Use Compressor to convert it if you didn't have a lot, but if you had a lot, just add it), but I'd capture all the SD 4:3 footage via a Kona 3 or Matrox MXO2 as 1080 ProRes. Hardware conversion of SD to HD is much better than anything FCP can do. AE might do good as well. But then use Compressor to convert 29.97 footage captured (you can't convert 29.97 to 23.98 when you capture) to get to 23.98.

Best way to save iMovie Projects

I am using iMovieHD and have about 50 hours of video to import and then to save. I recently bought a LaCie 250G hard drive. I do not know the best way to save these movies which I have imported and edited but since they are in effect out family treasury I would like a good quality. I can al;ways make new iDVDs from the edited iMovie so assume I will not need to save the iDVD projects. Any recommendations?

I think Apple should post some BIG ads to make some things clear
Hi Hunting,
"Quciktime" is not a format nor a compression method; QT is "just" a socalled container or warpper, containing many media formats (the .mov suffix is irritating people...), have a look here for an overview how many formats 6 codecs are a "Quicktime" file...
... mpeg4 is just one of them...
to answer your question:
that depends MUCH on, what you want to do later with your stored movies:
* dv is highest possible quality with iM files - but: 1h = ~12Gb !!
* mpeg4 my personal favorite, good pic quality, small file size BUT! as any mpeg-"flavor", it is a lossy compression codec...- in case, you plan to make in two years a nice dvd, that lossy mpeg4 has to be converted into mpeg2 (another lossys format) ...
there are some dvd-standalone player on the market, able to playback ISO-conform mpeg4 files (not in a .mov container, but as .mp4....)
* in case, you want re-edit, you need to store the iM-projects...
* the new h.264 is a fanstatstic codec, but too new, as: you need fast Macs for playback and warp-fast Mac for encoding...
summary/recommendation:
hd drives prices drop; I would store in .dv, three times bigger as a dvd (tento 20 times bigger then a mpeg4...) but best format for "post processing" (edits, dvd burns, website compression, switching to mpeg4, h.264....)
to add some silly ToolTime idea (call me Tim, I'm using it, short in money):
just for storage, you can buy 3,4,5 drives plus ONE empty fw-case; it is very easy to build a drive inside such case (two multi-pin cables); transfer files; build second hd into case... you just store the hds... looks silly, but works important: write onto some paper, what's on that drives...

Conforming to 24fps

I am using a HF10 with a Jag35pro and editing in FCE. I don't have a flip hack so I batch flip the images in Streamclip before editing. When I bring the clips into FCE I get the usual 29.97fps when I look at the item properties. However if I change the frame rate in Streamclip to 24fps and bring into FCE and check the item properties the clip is at 24fps.
I am assuming that what is happening is the clip is conforming to 24fps by slowing down and that no pull down is actually happening in Streamclip. I have not noticed any audio issues but I have not been shooting anything with a lot of audio (adding in music with the clips). The clip quality looks fine but not shooting anything with a lot of speed either. Can anyone confirm or let me know what is going on with Streamclip.

24fps does not have pulldown. You're just changing the frame rate and Streamclip is reconforming it as best it can with frame blending. 24fps is not supported in FCE and should not be used.

What is the best way to use single shot drum sounds?

I have a huge collection of wav. format single sound drum sounds that I use in FL Studio. What is the best way to program drums in GB using them besides buying iDrum? I like the flexibility of using drums from different kits when I make my music so I kind of get board using a preset drum kit from GB even layering 3-4 kits isn't as nice as choosing each individual drum sound.

Would be great to have more info but on a 24fps timeline with 24fps footage, you can simply right click and change the speed/duration to whatever. It'll be more jittery than smooth 60fps slow-mo. If your footage is shot at 60fps and you are editing on a 24fps timeline, just select the clip and right-click and choose MODIFY>Interpret footage and change the fps to 23.976 and you're done. Now when you drop that clip on the timeline it's in smooth slow-mo. Or, you can just toss the original clip on the timeline and change the speed/duration setting to 40%. Pretty much the same thing although the former is better if you need to add any warp stabilization to the clip. Anything you want to speed back up you can either duplicate the clip in the project panel and change it back to the original frame rate OR you can simply adjust it on the timeline to 250% speed which is back to normal. Good luck!

Best way to conform to 24fps

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