Conforming 30P to 25P

I have 30P media which needs to be conformed to 25P. Do I just drop my clips on a 25P timeline, and select conform speed?  or would I batch conform in Cinema Tools?

Cinema Tools if you're working with QT files outside of FCP X, but don't alter files already in an Event folder.
Conform in FCP X is, in fact, the Cinema Tools algorythm, so it's all the same thing.

Similar Messages

  • 30p to 25p

    Hello folks,
    I will be doing a film this year about an artist, whereby I am filming him for a few days painting/interviews etc with my camera at 1080 25p. I'm also looking to buy him a cheap pocket camcorder for him to shoot some stuff for the film, a sort of video diary.
    The one I was thinking about getting was a Kodak Zi8, however a lot of these cams seem built more for the US in that many of them do not shoot at 25p. I've looked at quite a few of the forums today and starting to get a sore head about the number of varying views I'm getting about converting footage from 30p to 25p.
    What I was going to do was simply edit his diary footage in a 30p timeline and then export his final film at 25p and drop it in with the rest of the footage. Either that or use cinema tools to convert the raw footage into 25p.
    I was just wondering if any of you guys have done this for projects and would appreciate some feedback of the issues you had...
    Many thanks.

    Thanks for the reply David. I guess it depends really on what he films but the idea initially was a video diary where he is filming and talking about what/why he is shooting different things so getting the sync would be quite handy.
    I'll go ahead and buy the cam and do a few tests, and as you say convert through compressor and see what it's like. Have you done this conversion before through compressor bud? If so what were the results like?
    I can always conform through Cinema tools and get him to re-record the audio after so that's an option too I guess...

  • How does one Conform 50p to 25P?

    Now Cinema Tools is out of the equation.. how does one conform 50p to 25p within FCPX? I dont want to use Optical FLow in Motion.. thats not conforming and takes way too long, plus is not as good for a SloMo effect.

    No...because CT does a frame for frame conform. FCP does not have that option. What is wrong with doing it with CT?
    Shane

  • 30p to 25p or 25p to 30p

    My JVC GY-HD101e can film in various fps and i am about to start my first project, a docudrama and it's meant to be distributed in EU and US.
    In your opinion should i shoot in 30p and then convert it to 25p or the reverse ?
    The ups and downs i've figured out are if i shoot in 30p are:
    1. FCP recognises 30p not 25p (so i'd have to get LumiereHD)
    2. It will containe some slow motion effects so the more frames the better it looks
    To convert the 30p to 25p you either remove frames or slow down right ? and speed up or duplicate frames to go from 25 to 30... are there others ways?
    Which way i easier ? are there problems converting from one to another (like image stutters) ?

    We need to deliver them in both 30p and 25i/25p.
    If I run the 30p footage through media encoder and have it output everything exactly the same (resolution, etc.) except fps, would my output (in theory) look jumpy because it is dropping 6 fps? 
    Would enabling frame blending work?

  • Conform 50P to 25P in FCP7 (NOT using CinemaTools)

    I've never had the need to use Cinema Tools in the past until a few weeks ago when I changed my camera to a variable speed model. I shot some footage in 50P, fed this into FCP where I then used Cinema Tools to conform to 25P. The results were super-smooth slo, it look absolutely wonderful especially as I'd shot the footage on a steadicam to begin with.
    So my question: Is it possible to conform within FCP7 without using Cinema Tools and achieve the same quality slo-mo as I got with CT? Is there another workflow here?
    Many thanks,
    S.

    No...because CT does a frame for frame conform. FCP does not have that option. What is wrong with doing it with CT?
    Shane

  • 30p vs 25p

    European standard on HD cameras are 25p and most USA cameras capture at 30p. I live in Europe and want to buy a camera in USA. I guess that will not be a problem as long as I always will play back the movies in Quicktime Player? What about burning 30p material on a DVD?

    You would have to make your projects and DVDs in NTSC format.
    As most PAL DVD players will also handle NTSC discs this should not present an impossible hurdle. But there are still a few players that will not playback NTSC. Depends on what you intend to do with the discs.
    Personally, I would not try to run a business whilst in the position of not being able to provide deliverables in the local standard. Although various standards conversion solutions exist, the process is neither lossless nor perfect.

  • CAPTURING TRUE 25P

    Hi -- I just got myself Canon's XL2 camera and am keen to try its true 25P recording capability. My questions are:
    In FCP 5.1.2:
    Do we set a specific capture setting for True 25P? Or do I just use the DV PAL setting? I see separate settings for HDV (Interlaced and Progressive) but not for DV. Would the DV PAL timeline conform to the 25P framerate?
    In DVD Studio Pro 4.1.1:
    To output as a "Progressive Scan" DVD, do I need to set a particular setting?
    Editing:
    Is Pogressive media (at 25fps) more difficult to edit?
    Rationale:
    Does Progressive make for a better DVD experience? I've read that interlaced are sharper whilst progressives are softer. I'm also using Magic Bullet to soften my movies and would like an opinion as to whether switching to True Progressive is worth all the hype -- and if so, what makes it worth it?
    Thanks...

    In FCP 5.1.2:
    Do we set a specific capture setting for True 25P? Or
    do I just use the DV PAL setting?
    Yes, use the stock PAL DV "easy setup" and you should be good to go... nothing special with DV progressive video...
    PAL is 25fps... you're good to go with the stock preset
    In DVD Studio Pro 4.1.1:
    To output as a "Progressive Scan" DVD, do I need to
    set a particular setting?
    Nope...
    Editing:
    Is Pogressive media (at 25fps) more difficult to
    edit?
    Nope...
    Rationale:
    Does Progressive make for a better DVD experience?
    I think it does.
    I've read that interlaced are sharper whilst
    progressives are softer.
    I don't see a ton of difference, but I've not really done a side by side of the same shot either...
    would like an opinion as to
    whether switching to True Progressive is worth all
    the hype -- and if so, what makes it worth it?
    Interlaced video has problems with stills, and some compression artifact might show up with it that wouldn't look as bad with Progressive. It just looks better to my old eyes... also matches the look of film better. still it's not what film looks like completely, but closer than interlaced video seems to look.
    Computer displays are progressive, so video intended for the web will benefit too.
    Jerry

  • 5D Mark II to PAL 16x9 DVD

    Is there anyway of encoding Canon's 5D Mark II 30P files to a PAL 16:9 DVD?
    I've tried Phillip Bloom's converting 30P to 24P, and instead conformed it to 25P, but that also didn't work.
    The problem I have is when you play it back on a CRT or Plasma TV, the footage jitters, similar to adding an upper filed clip to a lower filed project in FCP.
    There's got to be a way to successfully down converting 30P to 50i....!
    Please someone help me......

    Canon 5D Mark III is not a supported camera as of now.
    For details, Check Camera Raw plug-in | Supported cameras

  • Field Options on more than one clip?

    Im making a video and it now has 100's of seprate clips in it. Some have been set to deinterlace and some havnt. I hear its better to deinterlace with a plugin. Is there a way to select all my clips and get into field options to turn off all deinterlacing at once?
    OR
    whats teh best solution without having to go though all my clips individualy?

    Don't know... I've never tried it, but I have no reason to think it would be appreciably better than anything else I've seen Premiere do. Likely, what's happening is that you are (is essence) "chopping" the vertical resolution from 1080 -> 540, then scaling it back up to 720. Since Premiere is using a fairly soft scaling method (single-tap Gaussian resizing, I think??) this is probably hiding much of the artifacting that is occurring.
    Ann -- since you are already familiar with my processes and you know how to use DebugMode FrameServer and you have my hd2sd() pacakge, try an AviSynth script like this to pre-process your 1080i timeline for 720p output:
    (frameserve from Premiere in YUY2 colorspace)
    AviSource("signpost.avi")
    AssumeTFF()
    # For better quality (but slower) deinterlacing, set DeintMethod=1
    ConditionalSmoothBob(DeintMethod=2)
    SelectEven()
    Spline36Resize(1280, 720)
    ConvertToRGB32(matrix="rec709", interlaced=false)
    Compress this as a Lagarith AVI and import than into a Premiere 1280x720 @ 30p (or 25p) timeline and export to .wmv (or use another tool, such as Microsoft's standalone Windows Media Converter to create the output)
    Of course, there are many other options for how to handle all of this, but this a good place to start.

  • HT3395 Is this still a problem using iMovie 11 ?

    I see the Sony HDR-SR11 is on the supported cameras list but has this note on stabilization.
    Am looking for a good quality digital video camera to use with my iMac.
    Any suggestions ?
    Thanks

    It is still an issue, but in iMovie 11, you can run an analysis function to correct for rolling shutter so it is somewhat mitigated.
    Almost ALL consumer level camcorders these days use CMOS chips because they are so much cheaper than CCD chips, so unless you spend a lot of money, you are going to have this issue with any camera.
    Sony cameras are as good as any. If you stick with Sony, Canon, Panasonic you are in the mainstream of good cameras. Pick an AVCHD camera that stores to SDHC card.  iMovie will not import 60P but 30P and 25P work well in iMovie. If you buy a camcorder that shoots 60P, make sure it has a 30P mode as well.  60i and 30i work fine, but if I were buying a new camera, I would look for one that shoots in Progressive mode (like 30P).
    See this section of iMovie 11 Help.
    http://help.apple.com/imovie/#mov3af11c9f

  • Converting Pal 25p to NTSC 30p?

    On location.  Got stuck with a two camera shoot.  Principal camera is an EX3 at 24 or 30p.  Second camera turns out to have just arrived from Australia, a new Sony HDR-PJ760.  Nice little job.  But it only does 25p, or 50i I think.
    These are presentations:  One camera on the speaker (EX3).  The other on a  large screen projecting Powerpoints (HDR-PJ760).  There is no time to find another camera.
    How tricky is it to convert the 25p to 30p?  Or would it be better to shoot the EX3 at 24p?
    I want to be able to edit the two cameras as a multicam setup in FCP.
    Any suggestions would be most helpful.  We have three days of presentations to start tomorrow morning.
    Mmmm... wondering vaguely if one can change a PAL made camera to NTSC with a firmware change?  Just on the off chance...
    Where is Grahan Nattress when you need him!
    Ben

    Shoot the speaker at 24p, an the presentation at 25p.  You can then bring the 25p material (after converting to prores) into cinematools and conform to 24p.  This will be slightly slower, but there will be no loss in quality as your'e just changing the meta data (quicktime sees it as 23.98 fps) and you should be able to make slight edits to bring it back to synch when necessary.  if that's not clear, post back and I"ll try and explain in greater detail.  I've shot a number of projects with the panasonic hmc150 at 24p and done a conform to 25p to send to England without any issues. 

  • 24p 25p 30p 50p : what's recommended for HD in a PAL environement

    While i'm choosing a new digicam that can shoot movies (1920x1080), I wondering what's the frame rate to prefer for editing with FCS to produce Bluray
    in a "PAL world".
    I'm very interested in a Nikon P510 with its huge zoom but it record at 30p.
    Instead of the NiKon a friend suggested the Sony HX200 that shots 50p and 24p...
    In other world i would like to have an advice if:
    24p it's ok to edit in FCP
    30p it's ok to edit in FCP and it's ok (i doubt) in the PAL environement
    I'm quite experienced in PAL SD (miniDV --> DVD ) workflow but very confused on the HD one...
    Thanks

    In a PAL environment you can use either 25p or 50i .... both are the same framerate but one is progressive (p) and one is interlaced. Both can be edited in FCP
    24p is often used to give footage the "film look". It is also supported in the Blu-Ray standards and in FCP.
    50p/60p are non-standard framerates that are not always supported by NLEs. More often than not they are used to achieve smooth slow motion in post (e.g. 60p to 24p conforming). To my knowledge FCP can handle 50/60p only with the help of third-party capture card. 50/69p is also not supported on Blu-Ray devices.

  • I filmed my video in 25p and edited it in 30p.. any way to easily fix this?

    I have spent countless hours editing a video at 1080 HD 30p... and just now realized I filmed the clips at 25p. I am trying to find out the best solution and see if it is possible to somehow move everything into a new timeline that is set up as 25p like it should be, but keep all my color corrections and keep everything at the same exact times... If there is no solution my dilemma is do I scratch all of my hardwork and start over, or do I deal with the fact that it's not in 25p..? Is there really a noticable difference?
    Thanks..

    Hi Luis,
    I'm fairly new to final cut pro. Just been learning it through a few tutorials and by working hands on with it.. two questions for you..
    1. so I filmed my clips at 25p, and the project settings I chose were set for 30p. Now, does FCP convert the clips to 30p as I am editing in the timeline, so that the clips in the timeline now are 30p? or does FCP do all of the converting at the end when I am sharing the master file and uploading to youtube? why I am asking is I am wondering if I use your idea of copying and pasting the clips from a 30p project to a 25p project, are my clips going from being 25p to converting to 30p to converting back to 25p? If that makes sense... I'm probably over thinking this. I've spent so much time on this video and it's an extremely important project so if there's shakiness/lower quality that I could have fixed I want to. but starting over would be the biggest waste of time/headache.
    2. If FCP IS converting the clips as they are being dropped into the editing timeline.. are the clips that are up in the library/event area of FCP still at the original 25p that I filmed it at?
    thanks so much for your help.

  • You shoot 24p, 25p, 30p but iMove 09 treats it as interlace! Why?

    If your HD camcorder can shoot “1080p25” (progressive 25fps) or “1080p30” (progressive 30fps), of course you want to shoot using these frame rates. The Canon HV40 and Canon HF S11 are examples of HD camcorders that can shoot progressive video at 25fps (in PAL regions) or at 30fps (in NTSC regions) in addition to “1080i50” or “1080i60.” They can also shoot 24fps.
    When you shoot 1080p24, 1080p25, or 1080p30, in most cases progressive video is recorded as interlace video. Both 1080p24 and 1080p30 are recorded as 1080i60 while 1080p25 is recorded as 1080i50.
    When iMovie 09 imports this video, it will treat this progressive video as interlaced HD. Unfortunately, iMovie treats interlaced HD badly. If you Stabilize a clip, employ a PIP or Crop, add a Ken Burns effect to a video clip, or use a Wipe or Pseudo-3D transition (such as Cube)—iMovie on-the-fly converts your 1080-line video to 540p (960x540) video. Therefore, all 1080i clips in your movie will lose up to 35% vertical resolution and up to 40% horizontal resolution. This loss of resolution will occur even if you add only one of these effects.
    But, what if iMovie didn't do this?
    What if iMovie correctly saw progressive HD as progressive HD -- not interlaced HD? This would allow all scaling FX to be used. Moreover, because you ARE shooting progressive HD, NO scaling artifacts would be introduced!
    Would this be a benefit to HDV and AVCHD 1080i shooters?
    Absolutely! Especially if all this could accomplished without wasting time and image quality recompressing your video.

    The Pana 300 is a great camcorder, but I wish it shot 30p. If you want a Cine look you'll have to shoot 24fps rather than the easier to use 30fps.
    Anyway, about removing pulldown:
    1) You CAN remove 2-3 pulldown. But, it requires a recompresion from AIC to AIC after your clips' AVCHD is converted by iMovie to AIC. This would provide real 1080p24. I call this "TRUE 1080P." But, with a MacBook this might take too long. And, you lose a generation of quality!
    2) A better solution is to get iMovie to treat your video as though it has no pulldown and is progressive. I call this "FALSE 1080P" because once 2-3 pulldown is added during recording, the video has BECOME interlaced. (I'll explain about this in my other thread on dealing with 1080i50 and 1080i60.)
    PS: The reason I prefer to shoot 1080p30 is because then the goal is to get iMovie to treat 25p/30p video as though it were progressive. I call this "TRUE 1080P" because it really IS progressive.
    We know what it is, but iMovie doesn't. And, how can iM since it is recorded as 1080i50 and 1080i60. It's too bad Canon and Panasonic record 25p/30p as interlaced. The neat thing about TRUE 1080P is that after editing as progressive you can export as 1080i or 720p. And, no matter what FX you use you'll never get scaling artifacts!

  • 25P to 24P conform audio?

    I have been trying for almost a week now to get this done for a 85min movie. I am bringing in the .aif from the 25P movie (exported as aif from FCP). Then once it loads up I select process and time stretch. then i set the hh:mm:ss:ff to be exactly how long the movie is in the 24P timeline in FCP (actually a 23.98 timeline). I also set the STP prefs to be 23.98.
    I have tried now so many times and can't get the sound to sync up.
    I read something about slowing down 4%. Maybe, I can try that. but how?
    or maybe i should be using frames?
    I read that STP automatically adjusts the pitch too. Does anyone know about doing this as well?
    thanks in advance. totally confused.

    I have been trying for a week using soundtrack pro to conform the sound of a 25p 1.5 hr movie to 24p. < </div>
    Forgive my ignorance on the topic and I wish you success. You might find something helpful here:
    http://zerocut.com/
    Why do you need to conform anything? Depending on your release needs, the audio can remain a separate file. The length of your sound track won't change regardless of the frame rate; 90 minutes of 25fps is the same amount of time as 90 minutes at 24fps.
    Again, my apologies for not knowing anything at all useful about your problem. Last time I shot double system or had to convert from 23.97 crystal to 29.97 NTSC was maybe 20 years ago.
    Best of luck, please come back and close the post if you get it figured out.
    bogiesan

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