Converting 23.97 to 30 fps

I am transcoding h264 files shot with canon 5D and 7D. Most of the 5D footage is 1920x1080 23.97 fps. Most of the 7D footage 1280x720 60fps. Output will be for digital theatrical release, blueray dvd and dvd. I was planning to convert everything to prores 422 at 30 fps to edit and output ... suggestions?

Just finished doing nearly the exact same thing in Compressor. Was quite pleased with the results.
Good luck.
Russ

Similar Messages

Converting a 1080p 23.976 fps project to 720p60 for broadcast

How do you convert a 23.976 progressive frame rate into a 59.94 progressive frame rate? Is there an after effects pulldown option that is not intended for interlaced 29.97 fps, but for progressive HD formats like 720p60?

Hi Jim,
thanks for the info thats great ! the footage is just vision and wont matter if its slower which is good, i was concerned about any NTSC / PAL issues with the 25p stuff - but would i be correct in saying that as these files are raw and from the Epic / Scarlet that they are not either NTSC or PAL until they are outputted that way in post? Unlike say a a Canon 5D where you assign either NTSC or PAL within the camera?
cheers,
Tim

AME - Converting to MP4 and different FPS - audio goes out of sync

As described in the title.
I'm reencoding a 1920x1080 29,97 fps video into a 1280x720 60 fps video. Audio is AAC 44100 stereo.
Basicly a task that many of those free converters on Windows do smoothly. I use Mac...
I'm surprised that it goes out of sync, like 3-4 secs EARLY sound on a span of 2 mins video.
Settings here:
AME CS6 Fully updated
source: 1920x1080 29,97fps MP4 with AAC 44100hz audio
Target:
Codec: H264
Saves as : MP4
1280 x 720
60 fps Progressive - NTSC
CBR VBR1 VBR2 doesn't matter
Max rendering quality
Codec Audio AAC 44100hz (as source)
Any ideas ?

Because we stream at 60 fps and we have to convert all the materials we receive from our partners from the usual 29,97 to 60.
Thanks for your MVPaluable help.
/sarcasm off

Convert 1080i/60, 29.97 fps to 1080i/50

I need to convert a number of 50 minute programs from DVCROHD 1080i/60 to DVCPROHD 1080i/50. I tried using compressor, but get jerky motion and I lost one of 4 tracks when I made the conversion. track was there, but no audio on track.
Any suggestions?
thx..jw

There are a couple of things you'll need to look out for. First, you have to use frame controls. Click on the button and then click that gear next to 'Frame Controls'. Turn 'Frame Controls' on. For 'Output Fields' if you leave it 'Same as source', compressor is going to set the field dominance to be whatever it thinks your source field dominance is. So, if you're using that option, make sure it is (source field dominance) is right. If it's not, set to 'Top First' or 'Bottom First' whichever is right. Next jump down to 'Rate Conversion'. Set this to 'Good' or 'Better' do not use 'Best' as it's ridiculously slow and, in my opinion, not much better than 'Better. This transcodes will take much longer because of the use of frame controls. Good luck. Let us know how it goes.

Converting 24p to NTSC 30 fps with existing footage already captured

Working on a project that should have come to me downconverted to NTSC 30fps. I already have footage that was shot DVCPro 24p and have started working (selecting) with the footage. We would like to shoot our remaining footage downconverted in-camera to NTSC 30fps.
So - I'm curious if FCP allows you to convert material that's already been captured.
Thanks
G4 Mac OS X (10.4.3)

You'd need to use the Standards Converter from www.nattress.com.
$100 but worth it. It also converters 30 to 24, and PAL to NTSC, and vise versa.
Shane

Converting 15fps video to 30 fps video

I know shake as a really cool slow motion feature that will interpolate frames and make new in-between frames.
I'm curious as to how to take a clip that's at 15fps and make it 30fps, interpolating the new frames like it does when doing slow-motion stuff.
Anyone know how?

Let me clarify: you shot it at 15 fps but you want to put it in a 30 fps sequence WITHOUT it speeding up? If so, yes, adaptive with the speed set to 0.5 is the way to go. I'd suggest rendering proxies or a short range of frames with various settings to see what difference they make. Try it with AlwaysInterpolate off first, then if it flickers, switch it on.
P.S. You would not need to set it to 200% in FCP because it would already be playing at twice the speed in the 30 fps sequence.

Is there a way that you can convert an edited movie to quicktime if you shot on a T2i in 60 FPS?

I realized that I shot a project in 60fps on a T2i without my knowledge and I converted it back to 24 fps in streamclip. Then when I went to reconnect the media, there were no clickable clips...I first ran into this issue when the movie converted to quicktime with qlitches in it. Any solutions?

Wait wait wait. You edited the footage...you have a sequence that links to 60fps stuff. Then you went to the finder, changed the frame rate of the source footage, and then are trying to relink the project media to that footage? Dude...there's a frame mismatch. It won't work right. Not at all. OF COURSE you'll have problems. This is not how you do things.
You need to convert the footage. Import that NEW footage into FCP. Edit the sequence again with that new footage, in a PROPER sequence setting (meaning one that is 23.98).
Reconnecting 24fps media that FCP has set as 59.94 (the clips data will insist the media is 60fps, as that is what it was when you imported it)...is very problematic.
You need to bring in the newly converted footage all over again, and re-edit. You cannot edit, go "Oh, my frame rate is wrong," and just convert the clips rate and reconnect. Things don't work that way.

Convert 23.98 DV to uncompressed 10-bit workflow

I'm working a project from MiniDV 23.98 advanced mode and am trying to convert to 30 FPS Uncompressed for sharper titles and graghics. I'm sure there are several ways to approach this but I would like some ideas and a smooth transition workflow. Final output goal is Digibeta.
I tried using media manager to consolidate my sequence and recompress to 10-bit but it won't convert 23.98 to 30 fps. The frame rate conversion is ignored and it creates an Uncompressed 10-bit sequence of 23.98. Everything looks fine when I do this but I am afraid that the 23.98 fps will hurt me in the end when going out to digibeta. Or will I be okay in this route?
Once I convert, I'll be editing in AE and Color simultaniously. Is there a better workflow I can follow?
Another method I tried was that I copied the entire DV sequence onto a 10-bit sequence which requires rendering of the whole timeline. Also randomly there are single-frame gaps through the timeline where the clips aren't butted up.

I don't know. Does it matter If I go to Color before or after uprezing? I thought if I uprez then go to Color, I would have a little more color space to control. I read somewhere that it was ridiculous to use 8-bit in Color.
Another thing, I guess I need to read up on proRes. I know nothing about it or what's it's purpose.
I did a test with Color, I'm unable to change the frame rate. I changed codec to UC 10-bit and sent it back to FCP. The codec remained 10-bit UC but the screen size stayed at 720X480 in an 8-bit timeline. That was weird. I don't think Color conforms yet.

Converting and burning DVD from NTSC to PAL

I have created a DVD using iMovie (6.0.2) and iDVD (6.0.2) using NTSC format. I want to share a copy of the DVD with relatives oversees and I have been trying to create/convert a DVD formatted for PAL. I have not had any success!! These are the steps I have used:
1. Under PREFERENCES, I selected 25 fps
2. A message window came up indicating the original iMoive file was converted from 29.97 fps (NTSC) to 25 fps (PAL)
3. I Selected Save As and saved the converted iMovie file at 25 fps as a different file
3. I Opened the Saved iMovie file under iMoive checking that the PREFERENCES was set at 25 fps
4. Export from iMovie (full quality) the movie (I have selected 25 fps under PREFERENCES prior to exporting
5. Import the movie file I just exported and then set the chapter markers and save the new movie in iMovie
6. SHARE the new movie and select iDVD
7. When iDVD opens, I check the PREFERENCEES and it has PAL set in the preferences and also has PAL selected under Poject Info
8. I set up all the themes, fonts, etc. to customize my DVD
9. I then select BURN DVD and I get the following message: "TV Standard Conflict? It seems that we are burning a NTSC movie on a PAL disc. Proceed with burning?
ANY Suggestions or Advice would be greatly appreciated!

Hello Morris,
you do not actually have to convert your iMovie NTSC project to PAL before burning in iDVD. just go to iDVD preferences and select PAL as new standard, then create a new project and import your NTSC iMovie. iDVD will do the standard conversion AND encoding.
the NTSC/PAL conversion done in iDVD, however, doesn't produce the best results - give it a try though, but if you're not satisfied with the DVD's quality, consider getting JES Deinterlacer to do the standard conversion. this software can handle directly the reference movie stored in your project and will output the converted movie to the same location, so when you open your iDVD project, it will be in your media pane
JES Deinterlacer is freeware and you can find it here:
http://www.xs4all.nl/~jeschot/home.html
hope this helps
mish

How best to convert 24fps to 60fps?

I would like to know the process to interpolate frames in a video recorded at 24fps to make it 60fps.Could anyone help me?

You question begs a question from me. Do you understand frame rates? Why do you want to do that and what do expect to happen? Last question, what kind of 24fps footage do you have?
Let's talk about kinds of 24 fps footage. First, there's real 24 fps footage, then there's 23.976 fps footage which was really 29.976 (ntsc) video which was recorded interlaced (59.97 fields per second) but has had 3:2 pulldown added which you typically get from a little older video camera with a 24fps option, then there is film originally shot at 24 fps but transferred to video using 3:2 pulldown.
Let's talk about 60 fps as a playback format. First, if you video is ever going to hit television of cable then there is no such thing. Everything in NTSC land is 29.97 fps then interpreted as 23.976 and it's all interlaced. What that means is that if you send progressive footage to a broadcaster you get interlaced footage back but it looks progressive because you have pairs of identical fields. If you live in PAL land you get other options. If you are talking playback on the internet via YouTube or vimeo, the standard is still 29.97, 25, 23.976 or 60P if the receiving client has 60p equipement.
If you truly have 24 fps footage with each frame a unique slice in time then when you "convert" that footage to 60 fps there are only two options. The first option is to just play back the footage at 60 fps which means 10 seconds on the clock will playback in 4 seconds so the motion will be sped up. 240 frames divided by 60 = 4.
The second option is that you keep the playback time the same for your 10 second clip by playing back some of the frames more than once. You can either do that by adding a pull down scheme or using time remapping or a plug-in like Twixtor to take the pixels in 2 frames and calculate their new position in the frame based on their projected movement. For example, let's say frame 1 has a rotating pointer that is vertical and pointed straight up and in frame 2 the pointer is horizontal and pointed to the right. If you were converting to 48fps instead of 60 then you would need a new frame between 1 and 2 with the pointer pointed up and to the right at 45º. This is very difficult for software to do with 100% accuracy, especially if there is a lot going on in the scene.
The only other scenario that I can imagine is that you have some true 60 fps footage that you want to use in the same project as your 24 fps footage. If that is the case, then the option I would pursue would be to create my project at 30 fps and use the 60 fps footage in that project and also import the 24 fps footage into the same project. If you have 60 fps footage that is really 60i or 60p then the frame rate is 59.97fps anyway and you could treat the footage as 29.97 with no degradation in quality or frame blending, then you would either re-render your 24 fps footage as 29.97 fps interlaced with 3:2 pull down added or just use it in your comp with frame blending added or use Twixtor to convert the footage to 29.97...
So I guess we need to know exactly what kind of footage you have and what you are trying to do and what you are expecting to accomplish before we can give you a process that will solve the problem.

Question about framerates and compression

A few months back I've been to Nepal, enjoying the people and trekking. I carried my Canon HV20 (1080i-25 fps) in a small backpack and I bought a small Canon IXUS100 fotocamera (with video 720p-30fps) as a backup and carried it on my belt.
Back home I found that over 50% of the footage I shot was done with the little Ixus. It's ease of use made it the camera wich gave me the best footage. Content, not technical quality, but with the help of modern TV technics, it is a decent and solid image.
In FCE I can't edit the footage from these two cameras in one timeline. With any kind of movement the 720p becomes a little jumpy in 1050i timeline, or the 1080i flickers in the 1060i timeline. If someone knows a solution to this it would be nice. At the moment I just rendered the edit in parts according to their source and put them in the right order in a folder on the Western Digital TV-live.
But this is not my question.
Because I really like to work with the little camera but want full HD, I'm looking for a new one. Canon comes with some new Ixus and Powershot cameras that do have 1080p but at 24 fps, and as far as I know, not in a 1080i-50/60 wrapper, like the HV20.
At last, my questions:
In wich timeline can I edit this 24 fps without getting the side effects mentioned above?
I believe I can't edit AVCHD due to my hardware. Am I right?

Thank you for your responce, Tom. But what I like to know, will converting to 25 or 30 fps leave me with quality problems like the ones mentioned before or will motion be as smooth as the original source?

Project settings for GoPro Hero 3 Black Edition Protune 2.7k 24p

I am trying to figure out what setting to use to import Protune 2.7k 24p clips into Premiere CC 2014
I am trying to avoid using GoPro Studio and transcoding there, yet is this the only way to do this?
I can of course load in a GoPro .mp4 Protune file directly into Premiere but I have no idea which preset to use.
Thanks

Use MpegStreamclip (free) to convert the files to Apple Intermediate Codec (AIC).
You must record in or convert the files to 30 fps mode as FCE only works in that frame rate.
x

Question about WMV audio compression

If you export a WMV and go to the audio tab, you get the option for variable or constant bitrates. I noticed that if you choose constant (CBR), each option has a plain CBR mode or an (A/V) CBR mode. What's the difference between these two?

Thank you for your responce, Tom. But what I like to know, will converting to 25 or 30 fps leave me with quality problems like the ones mentioned before or will motion be as smooth as the original source?

New issue with blank frame at end of coverted .avi

Here is the project (scenario details):
I have 2 .swf files. Both are 30 fps. Call them "chapter1" and "chapter2". Frame count is 3600 and 9600 respectfully. The last frame of "chapter1" contains the same image as the first frame of "chapter2" - basically I'm splitting up an overall animation so I can easier manage two Flash documents versus one large document. I used SoThink SWF Converter to create 2 .avi files. When I place these .avi files back to back on the same timeline in Encore, both .avi files have an extra blank frame at the end. This causes a black frame flicker between the end of "chapter1" and the beginning of "chapter2". Even if I drag the end of the .avi on the timeline to the left (as to trim the video track), I still see a black, empty frame at the end. I don't think the problem is with SoThink because I've even imported these .avi files into Sony Vegas and zoomed in all the way to the end of each video track and the very last frame of both files is as it should be. This leads me to believe the issue is with Encore somewhere. Also, initially the problem in Encore was the audio tracks were extending a few frames beyond the video track thus causing the back to back .avi files to align according to the audio track (which was leaving a few blank frames from the video track). I have included some screen shots of the last 3 frames of "chapter1" and the first frame of "chapter2". Hopefully the images below appear in progression as I attached them. Watch the timeline indicator. One frame before the end of "chapter1" is black. I've run out of troubleshooting ideas. I can't imagine this would have anything to do with the .swf being 30 fps and the Encore timeline being DV NTSC 29.97 fps.

Stan - thanks for the reply...
I don't recall what was covered when you posted the similar question earlier:
Not much more than me explaining the flicker between 2 .avi files, and the only response was someone telling me to just have one .swf file. I'm not sure why some people's response is to "just do it a different way" instead of trying to figure out what is causing the issue.
What does mediainfo or gspot show about the avis?
I'm not sure which information you need, but I will attach what I was able to get out of the problematic .avi. Let me know if you need different information. This was the first time I used MediaInfo.
Without knowing what to look for, I did notice a couple of lines that caught my eye. Line 25 mentions 30 fps frame rate (which I imagine is this .avi). Line 26 mentions 25 fps as the original fps (which makes me wonder if SoThink misread the .swf file as 25 fps instead of 30 fps) - not sure if I'm reading this right. Also, lines 45 & 52 mention a 26ms delay in audio (relative to video). Could that be why the audio track in Encore extends a couple of frames beyond the video track? Either way, Vegas is STILL showing the last frame as filled with the image. What does this report tell you? Maybe I should find a different way to export .swf to video. Is there anything else out there I might try (to see if the problem is SoThink)? Just looked at the .avi in PremierePro. The last frame looks fine. SoThink won't let me convert .avi to 29.97 fps.
Could the fact I have a 30 fps .avi placed into a 29.97 fps project timeline, could this be the issue? I tested another .avi (from a movie), and the last frame appears correctly in Encore. Now this looks as if the issue is back to SoThink's conversion to 30 fps. I really should find a different .swf to video converter and retest. Again, thanks for any help (from anyone) in this and suggesting alternative video converters.
*added - the .swf files contain tweened and frame by frame animation along with a streamed audio layer, but even when I completely remove the audio layer, the resulting .avi still shows up as a blank frame at the end. I thought at one point the fact I had a streaming layer of audio might have been forcing the frames in Flash to skip around, but this wasn't the case.

What's the best way to deal with Canon pf24 files?

I'm working on a project shot mainly with Canon DSLR footage (1080p, 24fps.) But now I would like to add some footage from a Canon Camcorder recording in AVCHD format. It would seem to make the most sence to shoot at 24fps, or as Canon calls it pf24. The question is, is premiere or media encoder able to interpret the canon footage and do the proper 3-2 pulldown? Or should I record in 30fps (or pf30) and convert the footage to 24 fps in media encoder before adding it to my project? Keep in mind that I can't just shoot everything in 30p because the bulk of the project is already shot at 24p. Also, I am using CS6. Does anyone have experience with this? Thoughts?

Ed you are soo right! PP does not automatically fix the problem by dropping the footage into a 24p AVCHD sequence. If you have CS6 PP and AE you can use easily fix this ugly problem.
Excuse me why I step up on my soapbox - Adobe Premiere Pro development team -- please fix this @$%& problem asap!!!! The PP Interpret footage function is a joke without it!
The best solution I could come up with after investing a ton of time into this is to use AfterEffects inside PP as a filter. Therefore you will not have to duplicate or re-render all your PF24 footage to create true 24p clips. You work with the same source clips throughout the entire process. Here's what you do - 1st create a 24p AVCHD sequence in PP and drop your PF24 clips into it. Now you can select individual clips or the entire sequence of clips and "right click" and select "Replace with AfterEffect Composition". This will export the selected clip(s) into AE. Now you can use the world-famous AE Interpret footage function to remove the pulldown issues. Inside AE right-click the clip - select Interpret footage - select the fielding (in my case it was Upper Field First) - then finally the "magic bullet" - select "Guess 3:2 Pulldown" button. Now when you jump back into PP you will be working with beautiful "TRUE" 24p footage.
All the best!

Converting 23.97 to 30 fps

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