Convert frame rate 29.97 to 23.976 with synced audio

Ugh, one of my DSLR cameras was some how accidentally changed from 23.976 to 29.97 fps for an afternoon of shooting. Fortunately, it is a small percentage of total footage, however, it is synced with audio dialogue. How should I proceed to convert this footage to match the rest of the footage?
Thanks

Hi Jim,
Adobe Premiere CC v.7.2.2 more reel. Mercury Playback Engine GPU Acceleration(CUDA) is enabled.
I'm going to try Steven's suggestion of frame blending and hopefully will help. Any other suggestions greatly appreciated. For the life of me I don't know how that camera's settings got changed, ugh!!
Thanks so much!

Similar Messages

How do I convert frame rate from 30p to 24p????

I am about to start post on a short film shot on the mark II. I am going to convert the footage to ProRes. The director wants the "film" look. Can I change the frame rate from 30p to 24p in compressor? Are there any key settings I should know about?

There are lot of different ways to go about it, all have mixed results, and there is no way you'll get flawless results. However, here's a few ways to try:
A) Conform to 23.98, using Cinema Tools - You'll be slowing down the footage, so this is no good if you have on-set dialogue recording you're going to keep and need lip sync. If you weren't going to use any on-set audio and doing all dialogue and FX replacement, it wouldn't matter. This is also effective for music videos - just speed up the audio playback while shooting, and when you slow the video down in post, it'll match.
B) Use retiming in Compressor - I believe this uses some advanced frame blending and optical flow - I've had decent results with this method, but you can end up with some artifacts on high motion material.
C) Use Twixtor within FCP or Adobe After Effects. This has been my preferred method for surgical speed manipulation. It's time consuming and just like method B, you'll get artifacts on high motion material.
What you definitely do NOT want to do is drop your 30p footage into a 24p timeline. The motion will be horribly stuttery. Similarly, don't try to just use frame blending to achieve the frame rate conversion - it's not very impressive to see frame blending all over everything.
You're best results will come from having low motion footage. Interviews, head shots, etc. work great. If you're doing a lot of action, I'd advise against trying to convert using anything but method A. If you can get your hands on the 7D, you can shoot 24p natively.

Converting Frame-rates of HD Content

Hi all,
I am interested in changing HD 8-bit uncompressed 720p59.94 content to 720p50. I have managed to "fudge" a 720p50 sequence but now need to do the conversion of content frame-rates whilst maintaining playability and viewing quality.
Any Ideas?
I am using an Apple G5 MAC PRO with Quad Core Processor, 4GB RAM, AJA KONA 3 card with breakout box and XServe 7TB RAID Array running RAID 5 h/w and RAID 0 strippign across the 2 Banks.

FCP 6 adds the ability to put any format of video in any sequence setting, and if you're machine is up to it, play it back without rendering. Sort of like when you playback unrendered effects in a preview mode. FCP 5 wouldn't have allowed for this. You'd have to render to see it at all.
Jerry

Is this a bug?: copied movie clip has wrong frame rate and ruins the main movie's sync

Hello,
I am trying to copy a movieclip with a frame rate of 30 frames per second to a movie that has a frame rate of 30 frames per second. Both movies are actionscript 3 movies. When I do this, my copied movie clip's frame rate reverts to 12 frames per second and all my audio synched animation is trashed. Then when I change it back manually to 30 frames per second it makes my main movie's stage animation go crazy at full possible speed and the audio is all out of sync. I have not set export for sharing or action script on this movie clip. I've tried other movie clips that are 30 frames per second and it is all crazy!
Is this a bug? What can I do? I've got 100s of movie clips I need to make. I can't keep remaking them just because flash has a screw loose. I'll go crazy!
-theGibler

Oh sorry I goofed! My main time line is 12 fps! I can't belive I didn't see this before.

Drop frame rate when start saving avi file with GigE basler camera

Hello all,
I use 2 Ace basler GigE cameras at 60 fps to capture animal locomotion. I experience randomly this kind of problem. When I start to record by a start/stop button and save the videos in the hard-disk sometime the frame rate drop to 20-14 fps and a skip 2 or 3 frame. After that the frame rate became stable to 60 fps.
These are the overall settings and spec of the program:
- I use a producer/consumer loop (I never experienced a filling of the queue even when the drop frame rate occur)
- I fixed the bandwidth of the Intel 100 GigE card to 500 for each camera
- size of packet sent = 8000
- firewall disabled
- vi execution in highest mode
I observed that the dropping of the frame rate occur when the vi run for a while without interaction with the operator (the operator set others parameters in another computer, so the vi only acquire the videos without saving them)
I have attached the vi
Thank you for your help
Alex
Solved!
Go to Solution.
Attachments:
GRAB 2 CAM SAVE AVI TTL SEND C-P LOOP 0.1.vi ‏151 KB

Alex,
Does this drop in frame rate occur with both cameras or does it only occur with the "left" or "right" camera acquisition loops. I think what is happening is that your producer loop is overwriting the images before they get written to the AVI. In addition there may be some memory conflicts as queues are generally not recommended for IMAQ Images. Here is an explanation stating that instead of enqueuing an Image Object you are actually enqueuing a memory location to an image. This means that when you produce a new image it is writing to the same memory location you are trying to read from when you write the frame to AVI. This forum offers a possible workaround.
Regards,
Isaac S.
Applications Engineer
National Instruments

Frame rate for camera does not match with AVI output

Hello,
I'm taking a video from a Basler A504K camera of well plate bottoms deflecting down. I have a frame rate indicator from the Vision Acquisition to see at what fps the camera is acquiring images, and I also have a frame rate controller at the IMAQ AVI Create VI.
The problem is when I set the frame rate at the Create VI. The higher I set the frame rate, the fewer frames it seems to take. For example when I play the videos on Windows Media Player, at 10fps, the video length is 60s. At 100fps, the video length is 6s. At 20fps, it's 30s, and at 50fps, it's 12s. Obviously, the video length decreasing by the factor by which I increase the fps. But since higher frames per second videos show a slower/longer videos, since they have more images to display per second?
I need to be able to see a slow increase and decrease in the well deflections smoothly. At high frame rates, the video goes by so fast that I cannot analyze the deflections. At low frame rates, the video is slower, but there are too many missing frames so the deflection is not smooth (ie. you see no deflection one second, and the next, you see the peak deflection without seeing the gradual increase in deflections). It is very hard to find an "ideal" frame rate, so I was wondering if there was another way to control the frame rate such that I have high fps, and longer video lengths?
I'm attaching my VI. The bottom loop is where all the Video and Camera controls are. The top loops is to control pressure gauge and valve (just ignore that loop)
Thank you,
B.J. Kim
University of Michigan
Attachments:
Injury_Pressure_PulseFINAL_AVI.vi ‏174 KB

Hi B.J. Kim,
The problem you're seeing with the fps and video length makes sense to me. If you keep the overall frame count constant and change only the rate of playback, then the video time will be indirectly proportional, as you have noticed. Just from simple math, it appears like you kept the video image at a constant of 600 total frames while changing the frame rate between 10, 20, 30fps, etc. If you're looking to have more resolution in you video, maybe you could increase the actual frame rate of acqusition from your camera. You may also try placing a small millisecond wait in your while loop to slow down execution speed.

Question about changing frame rate from PAL to NTSC

Hi,
Usually, I would use JES Deinterlacer for changing the 25 fps of PAL into 29.97 NTSC.
Recently I've started shooting with Sony's EX-3, full HD (in PAL mode)
If I'm using JES Deinterlacer, the resolution would drop from 1920x1080 to 720x480 (adding 2 black rectangles to keep the 16:9 ratio)
With the 720x480 res I would need to choose 4:3 aspect in iDVD.
I'm somewhat confused here...Can I keep the original resolution of 1920x1080 and just use another software for changing the frame rate...then burn it with iDVD in widescreen 16:9? Is there anything like JES for that? Or does NTSC DVD means always 720x480?
Thanks a lot!
ymotion

You could try doing it in compressor>advanced format conversions. Personally I like taking it to a terranex, but I also have had GREAT success with Graeme Nattress's standards converter. You can google it, or search this forum for a link. It's cheap, only a hundred bucks or so.
1. Convert the footage pal to ntsc, no frame size change
2. Open compressor and select the appropriate setting for the length of your video. And also add the dolby audio setting. Don't forget the anamorphic settings noted above.
3. I don't remember anything at all about idvd, haven't used it since DVDSP came out. DVDSP allows you a whole host of display parameters and infinite customization for your projects. It'll only take you a couple of hours to figure it out, and those are hours well spent.

Back to school--frame rate education

Hello there,
Would someone explain the difference in frame rate output when exporting a project from iMovie 11?
I see the choices for 30, 24, and 60 and one of my camcorders can record at 60fps but what are the differences and is there a quality benefit to one over the other?
thanks
Marc

First of all, you will typically see frame rates of 24, 25, 50 and 60. This is partly related to the TV video standards in North America vs. Europe and elsewhere. North America uses 30 and 60 frames as the standards.
They frame rates you see may be follwed with the "i" or "p" designations. "i" stands for interlace and "p" for progressive. Interlace "paints" the image on the display or screen on evey other line and alternates every other frame. For example, 60i paints the lines 60 times per second, but each frame is composed of bands that are only every other line. The image is "striped", if you will. The eye does not notice, because it happens so fast - 60 times a second. On the otherhand, 60p paints the full image 60 times per second. As you can imagine, the more lines of information and the higher the frame rate, the more "data information" that must be processed and displayed in a given amount of time. With so much date to process, 60p video taxes Mac hardware to the max. But 60p is worth it, if you can get it to play. The 60p image is so much more life-like.
HD Camcorders sold the last year or so typically record 1920 x 1080 at 30p or 60i. That is 30 frames progressive or 60 frames interlace. Many feel the 30p views better than 60i on an HDTV. Several camcorders in the $800-1000 dollar range sold today and even some less expensive camcorders record at 60p. This is a huge step up in quality - when viewed on an HDTV capable of displaying the video - and most are these days.
As far as real world image quality, when I play 1920 x 1080 HD video at 60p directly from my camcorder to my HDTV, the image quality is superb. Any action or anything moving on screen is displayed clearly without the slightest blur or streaks. Unfortunately, my 2007 vintage macs cannot keep up with this level of video quality. When I upload video from my camcorder to my Mac and try to play 1920 x 1080 60p HD content, the video stutters and freezes. I must convert my camcorder's video content to a lower frame rate such as 30p to make it playable on my Mac. I use free programs such as Handbrake to convert, but the conversion to 30p degrades image quality noticeably. The processor in my camcorder is optimized for high quality 60p video and outperforms my Mac by leaps and bounds. However, it is impractical to keep all my videos on my camcorder.
In the last couple of months, new Macs with i7 Quad Core processors and separate, dedicated graphics processors have caught up with today's camcorders and can now play and edit state of the art home video content.
Bottom line on frame rates. Record, edit and play at as high a frame rate as your equipment allows. This is especially important in recording anything with a lot of action, like sports. Given the choice between i and p, choose the p or progressive settings when recording. To future proof, my recorded video, I like to record at 60p and then convert to 30p. My camcorder would let me record at 30p or 60i (which would save me a time consuming conversion step), but instead, I go ahead and use 60p to preserve my options in the future. I save the 60p files and when I upgrade my Mac some day, I will be able to play the 60p video and enjoy the higher quality it affords.

Ichat Frame Rate issues, low FPS

Hi,
My Father has a G5 1.8 iMac (20") w/ iSight and Tiger, connected to the internet via a cable modem. His upload and download speed are great. When he connects to me in iChat (or anyone else) he initially hooks up at about 15 fps+, but within 5-7 sec, drops to 1 fps, and stays there. He has been unable to get greater than 1 fps sending his video, which results in quite choppy video for anyone on the receiving end.
Any ideas on how he can get his frame rate to increase? I've run out of ideas.
Thanks,
Tyler

Hi Tyler
What apps are running in the background, eg:Virex for one can take the frame rate down and is not compatible with 10.4 so uninstall it.
Also some widget's can cause frame rate loss so turn them all off to check.
Tony

Cutting mixed frame rate (fps)?? -formerly: compatibilty of HDX900 & FCP? ?

Hi there,
I didn't hear much response from this group about this previous topic (thanks loyed or is it, scott?)... but I have a related question.
Has anyone cut a piece with mixed frame (vid) rate. For example, we are cutting some video shot at both 23.98 and 29.97. The sequence settings for 'editing time base' allows only one option. So I guess I could set 2 sequences and put one into the other. I don't want to nest though. Anyone deal with this?
I'm researching which is better for our project, either FCP or Avid. I want to be able to cut HD (shot with the HDX) in real time with mixed frame rate. Right now, I know Avid can handle the mixed frame rate. I have heard that with Avid Media Composer (software only), you may have to render often if your working off-line.
On the other hand, Apple says they don't officially support this camera's format. BUT I found someone who is using the one I use for the HVX, DVCPRO HD 720p and it is working for them (again thanks Scott).
I can't test either out yet. I don't have the footage, but will be working on a time crunch.
Any of your thought will be appreciated.
Best to you guys,
Sandhya
--forwarded note below from original post----
sandhya <[email protected]> wrote:
I am trying to determine the compatibility of Final Cut Pro and Panasonic's AJ-HDX900. We will shoot HD 720p mixed frame rate.

I know you said you don't want to nest sequences, which is a good thing, because (as of now) you can't nest sequences with different frame rates.
Capture the 23.98 footage without removing the pulldown, and you'll have the 23.98 look in a 29.97 file.

Quicktime shows strange frame rate

Can any one tell me why every clip I digitise through my Kona LH or my Blackmagic ProHD shows a framerate in Quicktime of 24 point something instead on the 25 fps it is meant to be.
Both DVCProHD and 8bit Uncompressed are showing this and its slightly troubling.
FCP sees the frame rate as 25fps in the browser and is very happy but a certain grading package which shall remain nameless can't handle the discrepancy
Im using a Sony HDCam 2000 p Deck into a Kona LH onto an intel with a Huge 2,5TB Fibrechannel Raid.

Thanks - it also shows the frame rate that the clip is stamped with and its this thats bothering me - It reads somewhere between 24.1 and 24.9 (It should say 25fps! as it does on clips that werent digitised in this suite)

23.976 frame rate explained

This post was triggered from this this thread:
http://discussions.apple.com/thread.jspa?messageID=4741388#4741388
I just thought it best to start a new one
Okay iSchwartz, with the speed of a flying bullet, and with help from my fellow members of the IBS (Institute of Broadcast Sound - in the UK), I think I have some answers...
24P is indeed simply video at 24frames per second with the "P" meaning Progressive scan. Its a video format invented to be compatible with film. It also means that the footage will have more of a "film look" when its converted to TV frame rates for broadcast as it will have the same process applied to it as film footage.
As to where 23.976 fps comes in (with regards to Logic) is rather more vague!
(warning - the following contains some speculation!)
As all will know because film is shot at 24fps it needs a special conversion process to be shown on an NTSC TV of 29.97fps. The process could just speed the film up but it would look funny and so they sort of duplicate some of the film's frames instead, to get the frame rate increased. The process used would result in a frame rate of 30fps so to bring it in line with the (cumbersome) NTSC frame rate they have to slow the film down slightly (by 0.1%) before they "scan" in the film's frames to make video.
...and guess what a 0.1% speed reduction of 24fps results in? Yes - 23.976!
so...
23.976 is the frame rate of the telecine machine when playing film to transfer to NTSC tv. The process involves slowing the 24fps film by 0.1% to 23.976 and applying a 2:3 pulldown picture process, resulting in NTSC's frame rate of 29.97fps
Now the question is why would you want Logic to work in 23.976fps?
It is possible (I don't know for sure) that when you shoot with film (ie 24fps), destined for tv that the programme is edited at 23.976, ready for the telecine process, and so this is the frame rate used during the post production process - As it is the time reference used in the edit then we need logic to work at this rate too so we're all in time.
It is also possible that the latest HD video cameras provide a shooting frame rate of 23.976 fps so that the "slow down" process of the past is not required.
Having said that to view the 23.976 fps pictures on telly the video needs to be converted to 30fpsDrop - or you need a display that can work at this unusual frame rate. I am not sure what the implication of all this would be for the musician "working to picture".
One thing I would say, is that musicians are not alone in having much confusion with frame rates and time code, especially now Hi def has arrived. I would strongly advise double checking with "production", particularly the dubbing editor, if that frame rate requested ~really~ is the right one!
I hope I haven't confused the issue even more with all that! Don't take any of this as gospel as I am still learning too. I trust someone will provide corrections and additions.

Rohan,
I agree in so far as the musician should not have to worry about the technical aspects of picture, but the composer is working within a team of people who have to be able to communicate effectively. the composer is also part of the production's overall workflow and so the composer's work methods can be dependent on productions.
To answer you points individually...
- when the telecine is created, and then sent for offline editing, it is the offline edit that you receive with the BITC or the striped LTC (rare these days) that should be your guide. obviously in the states with the confusing NTSC format, it is important to be sure what format they have used in the offline process, but ultimately it is the production facility to ensure you have a video edit that you can work to
Your first sentence says it all. If the offline edit is in 23.976 then presumably this is what you'll get sent. I have no idea how this will get delivered as the format would not work on video tape, you wouldn't be able to view it on a standard TV either. You could view it as a quicktime movie. That is the only way I can think of.
I agree it should be up to production to provide you with what you can work with but how far must they accommodate? I doubt anyone would be too happy providing U-matic tapes these days. For my last job I wanted QT movies on a DVD-R but I had to settle for DV tapes and capture myself. Lets face it, as technology gets cheaper and more accessible we are increasingly expected to be able to handle all those advances!
- so the music you create can either sync to a master clock (which is rare other than word clock which is not for video syncing anyway) or simply to the QT or VHS that you have been provided with which should have standard frame rates. you simply compose your music based on that sync
I don't know what you mean by "master clock" in this context, and as you point out word clock has no timing information at all and is irrelevant in a timecode discussion. Yes you work to the movie you've been given, but what if its using 23.976fps? If it is, it wont be on VHS - and, you wont be able to sync properly to it in Logic as Logic doesn't work with 23.976
If production provides you with a "special copy" in say standard NTSC 29.97fps then the editors timecode will be different to yours. You wont be able to talk timecodes with them over the phone for example. For them to do this production will have to convert the footage specially for you using 3:2pulldown telecine process (so the film plays at the right speed) and I'm not sure they would pay for that!
- the issue is more critical in the dubb, but generally 1 second of music at whatever frame rate is still 1 second of music. when you send your music in it is almost never smpte locked unless you have delivered via a timecoded DAT something which is very rare these days. basically it simply measures the sample rate and then syncs within the DAW in the dub
1 second in NTSC's 29.97fps is 1second at 23.976fps which is 1 second in PAL's 25fps too;-) Its the number of frames within one second that has changed. The problem is the format of the movie. you can play it in QT but not on the telly and Logic doesn't have a time base to match with it. It is likely that logic will be able to follow the movie in QT (not sure of that), or "chase" it, but Logic's own smpte display will not match the movie's BITC. Indeed all of logic's time references will not match the movie's.
when you send your music in it is almost never smpte locked unless you have delivered via a timecoded DAT something which is very rare these days. basically it simply measures the sample rate and then syncs within the DAW in the dub
Ever heard of BWF? Bounce your finished music in logic as a WAV file and you actually get a timecode stamped "Broadcast WAV" file: a file that has the SMPTE time of where the music starts in the film. The timing info is embedded in the file. All the dub mixer has to do is press a key-command to place this file in the right place in the film. I worked this way on my last project. (Its also how logic can place any audio file into "its original recording position")
Without using timecode I'm wondering how you tell "the dub" where the music should go in the film? - I'm genuinely curious. In the past when delivering music without timecode I would still say, in a written note for eg, the track starts at some timecode point (as referenced to the BITC for eg). This is why the composers timecode needs to be the same as the dub/editor's!
- it is simply important for the people sending you their film to agree how many frames consitute their second. if you have a VHS playout from the offline, you should work to whatever format that VHS or DVD comes in; NTSC or PAL. it's not your job to worry about the film to offline telecine
A nice thought in theory:-)
It shouldn't be our job to worry about such things (bars, beats, keys and harmony are enough for me!) but we may not have the choice if we want the job!
Don't get me wrong here Rohan. I don't profess to understanding all this stuff properly and I have never been asked to work in 23.976fps. I went down this line of enquiry to see if I needed to know about it! Perhaps you are right and production will supply a special version for the composer - but I'd like to know if this is the case as I like to have a basic grasp of the overall production process. I'd love to know of anyone who has had to work in this frame rate and how typical it is becoming (if at all).

How do I convert 1080 24p NTSC to PAL format, - whats the right frame rate ?

I have some footage* that I want to convert to PAL HD.   Currently its in NTSC HD.
What is the best frame rate / frame size to convert into? Do I have to convert it up to 50fps (or 25fps) and turn it into interlaced?
General
Complete name                            : my.mov
Format                                   : MPEG-4
Format profile                           : QuickTime
Codec ID                                 : qt
File size                                : 168 GiB
Duration                                 : 2h 18mn
Overall bit rate mode                    : Variable
Overall bit rate                         : 173 Mbps
Encoded date                             : UTC 2014-09-08 17:29:17
Tagged date                              : UTC 2014-09-08 20:14:37
Writing library                          : aapl
©TIM                                     : 00:00:00:00
©TSC                                     : 2997
©TSZ                                     : 125
Video
ID                                       : 1
Format                                   : ProRes
Format version                           : Version 0
Format profile                           : High
Codec ID                                 : apch
Duration                                 : 2h 18mn
Bit rate mode                            : Variable
Bit rate                                 : 173 Mbps
Width                                    : 1 920 pixels
Height                                   : 1 080 pixels
Display aspect ratio                     : 16:9
Frame rate mode                          : Constant
Frame rate                               : 23.976 fps
Color space                              : YUV
Chroma subsampling                       : 4:2:2
Scan type                                : Progressive
Bits/(Pixel*Frame)                       : 3.484
Stream size                              : 168 GiB (100%)
Writing library                          : Apple
Language                                 : English
Encoded date                             : UTC 2014-09-08 17:29:17
Tagged date                              : UTC 2014-09-08 17:29:17
Color primaries                          : BT.709
Transfer characteristics                 : BT.709
Matrix coefficients                      : BT.709
Other
ID                                       : 2
Type                                     : Time code
Format                                   : QuickTime TC
Duration                                 : 2h 18mn
Time code of first frame                 : 00:00:00:00
Time code settings                       : Striped
Language                                 : English
Encoded date                             : UTC 2014-09-08 17:29:17
Tagged date                              : UTC 2014-09-08 17:29:17

PAL is 720 x 576 pixels interlaced (bottom first).
If it's 16:9 aspect ratio, you need to select "Anamorphic" and the frame rate it 25 fps.
If you need help with Compressor settings - I use Best for everything including re-sizing - processing is slow but the result is excellent.
I believe you can use MPEG Streamclip for converting, but I have not tried it.
Andy

Mixed frame rates: settings to convert 29.97 to 23.98?

I'm editing a family documentary and unfortunately have interviews filmed from two angles on XDCAM at 23.98P and on AVCHD at 29.97P. Other than the second angle, most of the footage is from the XDCAM, so I'd like to harmonize the footage at 23.98.
It sounds like my best bet is to use Compressor to retime the AVCHD footage. A few questions:
1) Is using Compressor the right solution to retiming?
2) Can someone lay out specific Compressor settings for a good conversion?
Format: ProRes 422, presumably(?)
Encoder/Video/Settings frame rate: 24, right?
Frame Controls: on?
Frame Controls/Output Fields: Same as source or Progressive (or does it matter)?
Frame Controls/Deinterlace: this doesn't seem relevant? what is the right setting?
Frame Controls/Adaptive Details: checked?
Frame Controls/Rate Conversion: Best? (is this optical rate conversion?)
Frame Controls/Set Duration? 24 @ 23.98?
3) Finally, this seems to output 24P, not 23.98P? (There is no 23.98 option in the video/settings/frame rate.) What should I do to get this to match the XDCAM exactly? Should I output 24P from Compressor and then conform to 23.98 in Cinema Tools? Does that just change the video files rate metadata without actually doing anything to the frames?
4) Did I miss anything important here?
I know this conversion will be time consuming and I don't want to do it twice. Any help you can provide is much appreciated—especially details!
Thanks,
Randy

Although converting 23.976 to 29.97 happens every day with excellent results, I can't imagine successfully converting 29.97 to 23.976. If as you say these are interviews with VERY little movement you may not notice the video jumping forward every time a frame is deleted.
I would add 3:2 pull-down to the 23.976 to make it 29.97 interlaced (very smooth) and edit those along with the 29.97p into a 29.97 interlaced sequence.

Third party DVCPROHD Frame Rate Converter not showing up in tools.

How can I get a third party frame rate converter to appear in my FCP tools. I meet all system requirements... followed instructions. Not sure what is up. Any ideas?

Yeah, I downloaded it from the site onto an older G5 with an ATI 9600 in it. I could never get it to work. It showed up in the menu but couldn't actually select it.
Caleb

Convert frame rate 29.97 to 23.976 with synced audio

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