P2 23.976 ?

I thought this footage was shot at 30p - why does it say 23.976 in PP?

I'd use a 30p sequence, though it ultimately depends on your desired output. The 24p files will edit just fine in a 30p sequence; you're basically introducing pulldown. You'll see three individual frames, followed by a fourth frame that is duplicated into the fifth, so as to pad out the number of frames per second from 24 to 30. I don't think Premiere will try to interpolate the "missing" frame; it should just duplicate it. The cadence might be a little weird (you might see the stutter, or you might not), but you could take another tact if that's the case, and if Premiere doesn't try to interpolate the missing frame...
Simply interpret your footage as 29.97, which will make it run 125% faster (30fps / 24fps = 1.25). To get it back to the proper speed, apply a speed change to the clips of 80%; this will counteract the speed up caused by the reinterpretation of the footage. Since Premiere is detecting a change in speed in the clips, Frame Blending will kick in, and will create the "missing" frame from a combination of two different frames. It might look OK, or it might not--the choice is yours.
After Effects would give you better control over this, with presumably somewhat better results, but it might not be worth the fiddling around.

Similar Messages

  • Had anyone worked with 23.976 fps video?

    It's the new hi def video frame rate that is supported in Logic 8, but I'm having some problems.
    I also have a Canopus ADVC110 firewire to analog video out and the video is glitchy and crash prone.
    I don't know if the Canopus really supports 23.976. Is there another video box that does support this frame rate?
    Any info regarding this would really help me. Thanks
    Marty

    Some more info on La Wiki:
    http://en.wikipedia.org/wiki/Frame_rate
    http://en.wikipedia.org/wiki/24p
    23.976p
    Many 24p productions, especially those that are made only for TV and video distribution, actually have a frame rate of 24 * 29.97 / 30 frame/s, or 23.976frame/s (24/100.1% to be exact). Many use the term "24p" as a shorthand for this frame rate, since "23.976" does not roll off the tongue as easily. This is because the "30frame/s" framerate of NTSC is actually 30/100.1%, also referred to as 29.97frame/s – this framerate is matched when video at 23.976frame/s has a 3:2 pulldown applied. Similarly, 60i is shorthand for 60/100.1% fields per second.
    Film productions may be shot at exactly 24.000 frame/s. This can be a source of confusion and technical difficulties if material is treated as normal video, since the slightly differing framerates can be problematic for video and audio sync. However, this is not a problem if the video material is merely treated as a carrier for material which is known by the editing system to be "true" 24frame/s, and audio is recorded separately from moving images, as is normal film practice.
    Fun stuff!
    Hey iS - you always show up for the interesting threads

  • After downloading iOS 7 on my 4S I show 8,976 on my email icon.  How can I eliminate them all without going one at a time?

    After downloading iOS 7 on my 4S it shows 8,976 on the email icon.  How can I move them all to trash without doing it one at a time?

    Apple's official advice is here... HT2905 - How to find and remove duplicate items in your iTunes library. It is a manual process and the article fails to explain some of the potential pitfalls.
    Use Shift > View > Show Exact Duplicate Items to display duplicates as this is normally a more useful selection. You need to manually select all but one of each group to remove. Sorting the list by Date Added may make it easier to select the appropriate tracks, however this works best when performed immediately after the dupes have been created.  If you have multiple entries in iTunes connected to the same file on the hard drive then don't send to the recycle bin.
    Use my DeDuper script if you're not sure, don't want to do it by hand, or want to preserve ratings, play counts and playlist membership. See this thread for background and please take note of the warning to backup your library before deduping.
    (If you don't see the menu bar press ALT to show it temporarily or CTRL+B to keep it displayed)
    tt2

  • Help! I have an Adobe Premiere Pro CC 2014 sequence @ 59.94 fps and need to export the video as 23.976 but the video looks glitchy! Please Help!

    Help! I have an Adobe Premiere Pro CC 2014 sequence @ 59.94 fps and need to export the video as 23.976 but the final video render looks glitchy! Please Help!
    I made a new sequence at 23.976 and imported my 1280x720 59.94 video into the sequence... when i rendered it out it looks glitchy!
    my client is not allowing 1280 x720 59.94 video files they want 29.97 progressive,25,24,or 23.98
    Please Help what do i do! where did i go wrong! this is horrible omg!!!! please help!
    Thank you!

    Nice!
    In my export setting i switched the frame rate to 29.97 and it looks good to me!
    Thank you!

  • Import sequence files from 29.976 to 23.976....HELP!

    Hi All,
    Can someone help me with this very annoying issue.
    I work with Nuke X, Assimilate Scratch and  Maya.  99% of the time I am transfering image sequence files from program to program.
    When I import a sequence file into premiere cs5 or even cs4, the sequence comes in with a DEFAULT FRAME RATE of 29.976.
    I work in 24 or 23.976 frame projects. I ALWAYS have to go Rick click/Modify/ interpret footage and change to 23.976.
    Is there a way to set up cs5 to assume 23.976  as a default frame rate for image sequences?
    Also, Part two question:
    I bought a video card that uses the MPE in cs5 and it works great. I could layer the heck out of the timelime.
    But Only if the footage is from RED, Canon, quicktime, mpeg, etc.. If I  import my image sequence files, I DO NOT get fluid playback.
    Does anyone out there get fluid playback from targas, DPX, Tiffs?
    Thanks,
    Lou

    Holy Crap ! You Did it!!!
    I have been changing that freakin thing from 29.976 to 23.976 , ten times a day, for 2 years.
    I can 't believe it has been sitting there all that time. Then again, I wrote on Creative cow forum a while back, and nobody knew how to fix that.
    So...... you D Man
    A bug in CS5?
    Yeah that figures,  Of course it would be a bug in importing  sequences. Just my luck.
    I bought the new Mocha 2.0 which now has NUKEX importing.....
    I spent 3 days trying to figure out why my timeline was off by 1 frame when importing....
    Found out "Its a Bug" and had to wait for 2.01
    My whole life is all about updates.

  • CS4 vs. Interpret footage (23,976)

    System:
    Windows 7 (64)
    Premiere CS4 (Demo)
    AJA Bord
    Uncompressed AVI (v210) workflow
    I used to work with CS2 and I may upgrade to CS4. In my tests I was not able to use interpret footage propperly.
    No matter what I tried, every source file (24, 25 and even 23,976) can not be interpreted as 23,976.
    Premiere always changes 23,976 to 23,98.
    1. This was working fine in CS2
    2. It seems like this is just a display problem and the files are still treaded correctly.
    Is there anyone who had the same problem?

    It's a display rounding issue, near as I can tell. Do this test:
    Import a clip that is 23.98fps. Take a note of the duration of the clip.
    Select "Interpret Footage" for that clip, and change the frame rate to "23.976".
    When you deselect the frame rate field, it will automatically round to two decimal places, e.g. 23.98. This will also be reflected in the project panel information area.
    Now take a note of the duration of the clip; it will be slightly longer. It IS now being interpreted as 23.976fps, hence the slightly longer duration.
    I found this to be the case with DVCPROHD 720p clips recorded using OnLocation; you can set OnLo to automatically remove the padded frames from a 720p/24p "over 60" stream to create true 24p AVIs. However, there's a bug in the way they're interpreted in Premiere Pro, in that they when they're imported, the pulldown is removed again, resulting in clips with 19.18fps. You can uncheck the "remove 24p pulldown" box in the interpret footage dialog, but they are then intepreted as 23.98fps. When trying to synchronize and multicam edit these files with 720/24pN clips recorded to a P2 card (which are correctly identified in Premiere as 23.976fps), they eventually go out of sync. So, in the interpret footage dialog, after unchecking the pulldown box, I have to manually enter "23.976"--again, it displays as "23.98", but the duration changes and the clips stay in perfect sync throughout the duration of the multicam.
    Hope that helps...

  • Converting 23.976 to 29.97i methods and confusion

    Hey all, I've had a lot of trouble exporting spots out for broadcast using AME, and thought I'd see if the community here could help me out with some questions.
    Some background first. Most of our footage is shot and edited in 23.976, then rendered out to a master file that retains the original framerate. Since most stations only accept 1080i footage, I use AME to convert the master file to either a MPEG2 or Quicktime ProRes 422 video that's interlaced at 29.97.
    Everytime I use a preset or manually adjust settings, there's visible tearing/combing of the footage. Granted, I work at a smaller production house without a proper broadcast monitor to view playback on, but is this "normal" for watching video on a computer monitor? It seems like every other frame shows tearing, which makes me think it's more a problem with the deinterlacer than the encoder...
    Second, I noticed that if I export an MPEG2 at 23.976 with a "3:2 pulldown" option, it forces AME to render "progressive". Quicktime Player X and 7 report a framerate of 29.97, while MPEG Streamclip and even AME read the file as 23.976. Any ideas what's going on here? Which framerate is it, and is it truly progressive or interlaced with pulldown flags?
    Any other tips on getting a clean conversion from 23.976 to 29.97i would really be helpful, as I've been banging my head against a wall for a while trying to find the most efficient method to convert these spots.
    Thanks!

    is this "normal" for watching video on a computer monitor?
    It is.
    Whether or not you get flags or genuine interlaced frames depends on the specific format.  The MPEG2-DVD option, for instance, uses flags, whereas the DV format will add real pulldown.

  • DCP 23.976 24p

    I need to make a DCP from a 23.976 material I have no trouble with the video but last time i did the 0.1% time change to the audio I had lot of sync problem's.
    I finally vent to some cinema sound guy who told me the only solution to the problem was using some Pro-toole ploug-inn. So we did so and it worked. It took like 8 hour to render the file, but it worked. This was a lot of trouble and expensive so I ask is there a way to do this in Audition?

    Yes,  I'd have you try two things
    1) Restamp the sample rate that is in the audio file.  This is the "Edit > Interpret Sample Rate" command.  So if your audio is too fast, then set the sample rate to be 47952 instead of 48000, save the file and then try it in Premiere Pro.  It will take a long time to conform in PPro.  If your audio is too slow, then set the sample rate to be 48048 and so forth.
    2) You can resample the file directly in Audition with its high-quality resampler by using the Effects > Time and Pitch > Stretch and Pitch.  Look at the speed up or slow down presets, and adjust accordingly, paying attention to the new timecode duration shown in the effect.

  • Uncompressed 23.976 progressive avi and Encore encoding looks like crap!

    Since i'm getting an "internal software error" when I try to burn a DVD from an m2v/wav I export out of After Effects; i've now exported an uncompressed AVI so I can let Encore encode to hopefully fix this problem.
    So this 1.54gb AVI is 720x480, 16:9, 23.976fps, PROGRESSIVE.
    When I import it into Encore and throw it on the timeline, it looks, and plays beautifully. (i've got a mediavault raid) :-D
    I then go into the transcode settings and set it to this:
    23.976 [fps], Progressive, Quality 5.0
    192 [kbps] 48kHz, Dolby Digital
    VBR, 2Pass, Min 1.50, Target 7.00, Max 9.00 [Mbps]
    After a quick encode (Dual- Dual Core Xenon), I play back the video, and it has a pulse. It jitters at a regular rate, bump..bump..bump..bump, the text jumps as if its jumping fields. It is overall just horrible, nasty, etc.
    So i'm wondering if the MainConcept encoder that Encore is equipped with is just garbage, or i'm doing something wrong. I'm (this close) to going and buying Media Cleaner, or some other aftermarket encodr.
    I've got a job to do, and I hate having to trick the software, or change my workflow to get it to work.
    Any help would be greatly appreciated!

    We'll i've tried both and have not come up with any luck. I've now tried TMPENC, and its pumping out some GREAT looking m2v's. Right now I have to get the settings down, so I dont get an overstream error.
    Also, I've noticed that it doesnt mind that its a seperate audio/video stream as it did with my after effects exported mpeg2-dvd files.
    I'll keep you posted on my success (lets hope :) )

  • Mpeg-2 flags, dvdsp, and 23.976 video question

    just got through this thread:
    http://discussions.apple.com/thread.jspa?messageID=9786956
    and have a remaining question. i looked at the m2v file in
    mpeg streamclip and i see:
    Video Tracks:
    224 MPEG-2, 720 × 480, 4:3, 23.976 fps, 7.70 Mbps, upper field first
    is the 'upper field first' just a flag to tell how to deal with
    this file? or is it stating that the file is interlaced with the
    upper field first?
    the intent is to make a progressive dvd at 23.976. the original
    material is film, captured and edited at 23.976, progressive. the
    material was captured off of an old projector, a frame at a time,
    with a digital still camera, so the original has no interlacing
    or fields. this went to make an image sequence, which was rendered
    to a qt movie at 23.976, also progressive, no fields. it was then
    output through compressor to the m2v file which produced the mpeg
    streamclip stream info dialog quoted above.
    thanks,
    BabaG

    BabaG wrote:
    is the 'upper field first' just a flag to tell how to deal with this file?
    Yes, it's just a flag.

  • 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).

  • 23.976 Quicktime exports one frame short

    Hi,
    I'm having a recurring problem with 23.976 fps exports missing the last frame of any comp. I'm working with prores 4444 files shot at 23.976, comp settings also 23.976, footage interpreted correctly at 23.976. When I export to quicktime in any codec at 23.976 the exported clip is one frame short.
    This isn't a framerate issue as far as I can tell as all previous frames match the original footage, also an image sequence export will produce the correct number of frames. It's just not exporting the last frame. Is anyone else having this problem?
    Obviously the workaround is to extend every comp by a frame before render, or always render an image sequence, but as I'm working on a show with an extremely high number of shots to turnaround and all have to be imported back into the edit at Avid DNX36 offline codec quality, this seems like a much more time consuming (and storage space consuming!) solution to what is an obvious glitch.
    Can anyone help? A solution will save me weeks of time over the coming six months!
    Many thanks in advance for any help.

    It's probably just a counting error.  AE, like many applications that work with video, begins with frame ZERO, not frame one.
    Count the number of digits in the following list: 0,1,2,3,4,5,6,7,8,9.  Even though the highest value is nine, the number of digits is ten.  Thus, in AE, close to one second of 23.976 fps video is contained in frames 00-23, and not 00-24... which would be twenty-FIVE frames.

  • 23.976 video problems

    Using Encore 2. I have some TV episodes (AVI) that are 23.976 pps and fps. Last time I imported them and 4 episodes took 12 hours, but all was okay. I figured this time I would process using AVISynth with a pulldown, and it produced the .m2v with 23.976 pps and 29.970 fps, which I hoped was correct. I imported those files, and Encore STILL wants to transcode. Did I use wrong settings with AVISynth (in which case I will look there) or is it something in Encore that would have me need to transcode it anyway??
    Hopes this makes sense
    Thanks,
    Glenn

    I am at work right now, so I don't have all my info, but from memory I am using pretty much default settings as provided by Henc. Best quality, default GOP, MPEG2 matrix. I use software to determine max rate to fit the items on the disc. The only thing I changed from the 29.970 settings was adding the pulldown, which turns out you can leave on and it only uses it when fps is 23.976. Did I leave out anything important??
    thanks,
    Glenn

  • True 23.976 fps support?

    Can anyone confirm that OS 10.7 supports true 24P (23.976)?  I have a 2011 Mac mini used as a dedicated HTPC.  I know that the Intel 3000 integrated graphics is not capable so there is a hardware limitation.  It rounds 23.976 to 24.  However the AMD graphics card can properly handle 23.976 fps material.  I seen this confirmed with a 2011 mini running Win7 and the AMD graphics.  I've not seen it with OS X.  Can anyone confirm that Apple supports this with the AMD version minis? 

    ...crickets...
    I can't believe no one knows the answer to this.  I don't have a TV capable of 24P (yet ) so I can't test this. 
    After some more searching can someone point me to the answer to...
    1) Where is the documentation on the Apple AMD Raedon 6630m drivers?  I am wondeirng if Apple drivers allow this?
    If they don't then I guess I would have my answer...

  • Sequence w 23.976 fps exporting as h.264 QT with 22.69fps

    I exported an h.264 QuickTime from Premiere Pro CC (Mac).  The project/sequence was set to 23.976 fps.  The export settings for the QuickTime was also set to 23.976 fps. However, the QuickTime that was created had a frame rate of 22.69fps.  I have never had an issue like this before. 
    I had Premiere add the QuickTime to the project on export.  That QuickTime file displayed 23.976 fps in the Premiere Pro Project Panel.  However, the same QuickTime is showing as 22.69fps on the QuickTime inspector in QuickTime, as well as a third party application. 
    The odd thing is, after several attempts with the above set up, sometimes the exported QuickTime has the correct frame rate of 23.976 fps and sometimes the exported QuickTime has a frame rate of 22.69fps (incorrect), so it is not consistent.
    I have reported this issue to Adobe. The Adobe tech, via a screen sharing session, also noticed this inconsistency first-hand and agreed there was an issue of some kind.
    Does anyone have any ideas what could be going on?

    any ideas what could be going on?
    You're using QuickTime.  It's buggy.

  • Why there's a lenght difference between 24fps and 23,976 fps timelines with the same clip?

    I was working on a 23,976fps project and I've tried to import a short  animated sequence of 44 tiff frames in my timeline in my Premiere CS5.
    I've imported the sequence, interpreted the footage to 23,976fps (as it was rendered in AE) to check it before sending it to a finish house.
    First issue. Even if I set the framerate to 23,976, Premiere CS5 shows me 23,98 on interpret footage window. I've assumed it as a rounded number.
    When I drag the clip to my 23,976 sequence, the clip shows as 43(!) frames length on info panel. It misses one frame. Putting the sequence over the original video, It really misses a frame.
    I decided to make a test. And placed the same clip, interpreted the same way on a 24fps sequence, and the clip shows as 44 frames length on info panel.
    How can, the same clip, shows different amount of frames (I'm not talking about time, but simply raw frames), on different timelines? It does not make any sense! If my sequence has 44 frames, It should show as 44 frames independent of the timeline I've imported it. Am I Right?
    Just for test, I´ve imported the same sequence on AE, and in it shows as 44 frames on a 23,976 timeline. How can I trust Premiere frame interpreting this way?
    Just one more thing. The scene used as base for the AE animation, has 44 frames, and it was measured and cut from a 30s film on the same premiere that is having this weird behavior.
    Can anyone explain to me what Just have happened? It´s driving me Crazy!
    Thanks in Advance
    Mauricio Mendes

    There's a long and storied history behind the concept of a drop frame tmecode. It traces its origin to early color TV in the USA, and was a way to get rid of artifacting that was visible on B&W TVs when watching the color signal (color subcarrier).
    Basically, by having your intermediate timebase set wrong, you were having PPro drop a frame. That's why you saw the mismatch in frame numbers.

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