Use 60 fps footage in 24 fps timeline

I will apologize in advance because this is sort of a stupid question but I swear I have been told there is an easy way to do this...
I have a timeline that is in 24 fps. I also have a few shots that are shot at 60 fps. While I could just put the 60 fps clip into the timeline since frames get dropped it looks very intense and jittery. Now, I know I can conform these to 24 fps using cinema tools but that makes them slow motion.
Is there anyway or any programs that will allow me to conform the 60fps footage into 24 fps without turning them to slow motion?

and set everything to BEST...
... then go have a nice dinner at a restaurant with linen table cloths, a good night's sleep, a leisurely breakfast, a late lunch and stop by to check on the process before you start the cycle again.
Best is VERY computationally intensive. I'd start with "Better" in frame controls and see if it gives you acceptable results. If not, then go the "best" - and living large - route.
Cheers,
x

Similar Messages

  • Using 1080i footage in a 720p timeline?

    Just curious if anyone out there has used some 1080i footage in a 720p timeline. Does the 1080i stuff convert to 720p very well? Does it look like progressive video? I'm asking because my main camera is the JVC HD100 (720p native) and I want to know if I can match footage from the Sony Z1U (1080i) in a 720p timeline.

    Unfortunately, just letting FCP do this will produce pretty unacceptable results, it just drops frames and does not deinterlace.
    Shake will do this very nicely, and its recent big price drop makes it an attractive tool to have around. Alternatively, you could use a free utility called MPEG Streamclip from Squared5 (http://www.squared5.com/svideo/mpeg-streamclip-mac.html). Among many other conversion tasks, I've used it's downrezing and deinterlacing capabilities to do exactly what you want (Z1U footage to 720p) and it does a very good job.

  • High fps footage in Low fps project - Conform Speed

    Hi Y'all.  I'm using the GoPro3 and it shoots beautiful 1080p60.  I hope to preserve the integrity of this footage and make it work the most for me with slow-motion in a 30fps project.
    1) What frame rate should I export my videos for web viewing, 30fps or 60 fps?  Does YouTube or Vimeo have preferred frame rates, or do they take whatever file you have and force it to, say, 30fps? 
    (For my taste I think that 30fps looks good, i've seen some new TV shows that incorporate 60fps and it looks off to me.. TOO crisp or something, anybody else notice that / feel that way?)
    2) If I bring a 60fps clip into a 30fps project, it still retains it's 60fps information correct?  If I'm copy and pasting these clips between different projects with different frame rates, i'm not affecting the clip itself, am I?
    3) Is there any difference between a) using the 'Conform Speed' command and b) simply retiming 60fps footage in a 30fps project to 50% retime?  I wonder if there's any other magic behind the 'Conform Speed' feature that I should be aware of.
    Thank you for all your help.
    Lovin' FCPX!

    3.  So what is different between these two actions:
    A) conforming 60fps footage to a 30fps project and
    B) retiming 60fps footage to 50% in a 30fps project
    Is conform simply a mathematical scaling function for retime based upon clip/project framerates (in which actions A and B would have the same result)?
    Or do you know if there more too the conform function that i'm not anticipating?

  • How to convert 32 fps footage to 24 fps for slowmotion effect in premiere pro cs3?

    Hi there,
    Can somebody give me any advice on this?
    Is there something specific i need to adjust in the preset? or can i just richt-click on the footage in the timeline and convert it to 24fps?
    Is it best to always shoot at a higher frame rate then 24fps..lets say for this particular clip and subject 32fps?
    i'm doing this for a videoclip and we thought that such an effect would be nice during the choris of the song.
    I hope somebody can give me some advice on this. Thanks in advance for the effort. much appreciated.
    grts. Tristan

    @Dan Isaacs
    tnx for your reply: reason why shooting at 32fps is because the audio on the set has been speeded up with 133%. I thought it's best to stay in the same ratio in order to have the lips sync on the audio (this is in realtime)cuz when slowing down the footage to realtime speed the lips must be sync with the audio which is also in realtime speed
    If I make sure that when slowingdown the footage in the project,it matches the realtime speed of the audio...,
    does it matter at which frame rate I shoot?
    @Craig Howard
    Well..I just got word of the rental company and there is a big chance that they have the panasonic HVX200 ready for me when i need it, SO i think that will be the one
    So it will be as follow: shooting on a hvx200 at 32fps or if it doesnt really matter at 60fps for a better slowmo effect
    of course i will shoot on High Def ;) and will need the p2 cards, after shooting I will capture/import the footage from the cards as you guys adviced me to do...
    my main issue was thinkin I needed extra software for downconverting the framerate in order to get the slowmo effect, e.g.: cineform aspecthd
    I think that i'm full circle now..or am i missing something?
    hehe..tnx again guys!

  • How should I combine 30 fps clips and 24 fps clips into a project?

    I have both 30 fps footage and 24 fps footage and I would like to create a project that has both. Should I create a 30-fps project or a 24-fps project? Which one will look better?

    A little bit. Mostly just playing around.
    I would start with 30fps so you can preserve the higher frame rate.
    Another consideration is how much of your content is 30fps and how much is 24fps.
    If you're doing a lot of this kind of thing you may find the FinalCut Pro X handles it better.
    Matt
    Message was edited by: Matthew Morgan

  • Smooth Slow Motion from 50 fps Clip in 50 fps Timeline

    If I want 50% smooth slow motion from a 50 FPS video clip, I would normally ask PP to interpret that clip as 25 FPS - that works great.
    If however I import the 50 FPS video clip and interprett it as 50 FPS, I would have to set the speed of the video clip in the timeline to 50% to get the same level of slow motion.
    The question is - when I follow the latter method, does PP create new frames for the slow motion or is it clever enough to use all the frames from the original 50 FPS video clip? to put it another away, does PP always generate NEW frames for slow motion or does it try to use the frames we are attempting to ignore?
    I've done some basic tests and so far I can't see any real difference between the two methods. This leads me to beleive PP is effectively using all of the original 50 frames when the 50 fps video clip is imported into a 50 fps timeline and then slowed down in the timeline by 50%. - if this is the case, well done PP!!! If this is not the case, then it would be a welcomed enhancement in future releases.
    I guess what you are all wondering is why would I want to import a 50 fps video clip into a 50 fps timeline and then slow it down in the timeline - well, as a wedding Videographer, it is simply because some parts of the video need to be in slow motion and other parts like messages and speeches need to be interpreted at normal speed. If playback in the timeline is at normal speed, i find it simpler to slow down the "Walking Down the Isle" clips rather than having to speed up the speeaches and messages.
    In short, when importing 50 fps video for smooth slow motion, are both the following methods equally effective in terms of smooth motion?
    Method 1: Import the 50 fps video clip into 25 fps timeline
    Method 2: import the 50 fps video clip into 50 fps timeline and set the speed of the video clip in the timeline to 50% - I'm assuming PP does not generate new frames and gets them from the original 50 fps file instead..
    To put it another way, does PP ALWAYS attempt to generate new fromes when slowing down video in the timeline? When extra frames are available in the original video file, does PP try to get the extra frames from that file instead of generating new ones?

    I recorded 2 video clips of the same scene. The camera was panning from right to left.
    First video clip - recorded at 25 fps
    second video clip - recorded at 50 fps
    Both video clips recorded at the same panning speed of the same scene.
    1. If I import the 25 fps video into 25 fps timeline and slow it down by 50%, the exported video looks jerky.
    2. If I import the 50 fps video clip into 25 fps timeline, the exported video looks smooth motion.
    3. If I import the 50 fps video clip into 50 fps timeline, slow it down in the timeline by 50%, and export the video as 25 fps then the result is still smooth motion.
    I've only done the experiment once and may have to repeat to be absolutely sure.

  • FCP imports a 720p 25 fps footage as a 50 fps

    Hello, a strange phenomenon is happening here:
    JVC HD100E Camcorder
    Final Cut Studio 5.1 Universal
    I recorded a footage on the miniDV tape of the camcorder in HD 720p, 25 fps.
    I connect the camcorder to the G5 through FireWire for the capture in Final Cut, codec Apple HDV: why does it recognize it as a 50 fps footage?
    Thank you.

    720p25 is no officially supported format in general.
    Only 720p50 is a real standard. However there is a
    so called 2:2 pulldown where you double the frames,
    also called 25p over 50p. This only concerns a
    transparent video signal via HD-SDI. Speaking about
    the Panasonic HVX200 is another story as this is a
    file based workflow.
    Here you can find an article how to capture, edit and
    monitor 720p50 in FCP 5.1:
    http://www.aulich-adamski.de/en/perm/720p50-capturing-editing-in-final-cut-pro
    This is also helpful for JVC GY-HD users that could use
    an HDV to HD-SDI converter.
    An second article describes the Panasonic P2 workflow
    with 720p25 and 72p50 but it's currently only in german:
    http://www.aulich-adamski.de/perm/panasonic-ag-hvx200-720p2550-p2-workflow-mit-f inal-cut-pro

  • Combining 60 fps and 24 fps footage in one project

    I've got a unique and confusing problem. I am trying to make a video that has a small amount of 60 fps played back at normal speed, soap opera effect and all, placed inside of a normal 23.976 fps project (full of primarily 23.976 fps footage).
    I can hear you asking "why on Earth would you want to do such a thing?!" The video project is actually designed to be an explanation and demonstration of why and how higher frame rates look the way they do, a sort of explainer on how our eyes and brains process them, etc., so I need a bit of shiny soap opera stuff, just not the whole vid, because yuck. 
    The final destination for this project is YouTube, which now offers 60 fps uploads, so my final export would be at 60fps. If I shoot the rest of my stuff at 23.976, how can I combine the two so the normal stuff looks normal in a 60 fps export, and the 60 fps stiff looks shiny? If I drop 23.976 into a 60 fps project/export, won't it get choppy as hell in the final export?
    I've got access to PP and AE CS6 and/or CC to get the job done.

    I've got a unique and confusing problem. I am trying to make a video that has a small amount of 60 fps played back at normal speed, soap opera effect and all, placed inside of a normal 23.976 fps project (full of primarily 23.976 fps footage).
    I can hear you asking "why on Earth would you want to do such a thing?!" The video project is actually designed to be an explanation and demonstration of why and how higher frame rates look the way they do, a sort of explainer on how our eyes and brains process them, etc., so I need a bit of shiny soap opera stuff, just not the whole vid, because yuck. 
    The final destination for this project is YouTube, which now offers 60 fps uploads, so my final export would be at 60fps. If I shoot the rest of my stuff at 23.976, how can I combine the two so the normal stuff looks normal in a 60 fps export, and the 60 fps stiff looks shiny? If I drop 23.976 into a 60 fps project/export, won't it get choppy as hell in the final export?
    I've got access to PP and AE CS6 and/or CC to get the job done.

  • What timeline format shall i use for footage in AVCHD format?

    I am shooting with the Sony HXR NX5, and i would like to ask what timeline format shall i use for footage in AVCHD format? I do not see any format in the Final Cut Pro and in Motion that matches my camera format.
    Thank you very much for your assistance.
    Best regards,
    Richard

    IF you are working with FCP 7.0.3 (the last version) then you use Log and Transfer to ingest your footage from that camera, and Log and Transfer will convert the AVCHD camera files to ProRes.
    Once the camera files are ingested, make a new (empty) timeline, and either drag a source clip or edit it to that timeline and you will be prompted to match the sequence settings to the source clip. Say yes and you should be good to go.
    AVCHD, H.264,etc. files are not directly usable in FCP without conversion.
    MtD

  • What's the correct workflow for high FPS footage motion blur?

    Situation is the following:
    I have a few 600fps recordings I want to put together with heavy editing.
    Things I want to do (not in order):
    Change the velocity heavily up and down, from 300% to 10% and back withing seconds.
    Basic VFX, heightmap, masking, light flashes and so on.
    3D tracking and effects, particles and text in 3D space
    Color Correction
    Good motion blur
    Overlays
    Now, my question is at which point I apply the motion blur. I'd like to start in Sony Vegas for the velocity and then move to After Effects.
    But Sony Vegas is capable to export at max 120fps. Will the motion blur result be worse/different with minro FPS footage?
    In Sony Vegas for example, the resample feature is pretty useless/bad unless you go over 120fps.
    But obviously I can't start by importing my footage into AE and firstly add motion blur. By my understanding I have to do all FX and color correction before adding motion blur, and until then the footage has to stay 600fps. Is this correct?
    Thanks in advance.

    and until then the footage has to stay 600fps. Is this correct?
    No. Motion blur is calculated from frame to frame at the actual playback speed. Anything else would look fake, anyway, though of course you may already ned to/ want to add some motion blur to some elements halfway through just to from the precision of higher framerates. Smoother curves and all that. So ultimately in which order you do it is till a matter of what gives you the best result, not so much a fixed "correct" order.
    Mylenium

  • Ntsc (60 fps) vs PAL (50 fps)?

    Hi all,
    I have to choose between NTSC with 60 FPS or PAL with 50 fps on my new GoPro camera (black edition hero3+). What should I do? I live in the Netherlands, so intuitively would go for PAL. But that lowers the framerate possibilities. Higher framerate will enhance my plans to edit certain parts in slowmotion. So, is it possible to shoot with NTSC at 60 fps, edit this movie (in a 60 fps project), burn it to blu ray with loss of quality? Or should I choose for PAL 50 fps?
    Thanks in advance for all for the help!
    Hugo

    Your thought processes are almost correct. Shoot 60fps and edit 25fps.
    The frames per second for your sequence have little to do with the frames per second of your footage when you are shooting with the intention of playing it back in slow motion.
    Now that we are not using interlaced footage, and we are not trying to solve the problems of frame size differences between PAL and NTSC, there is little difference between me shooting at 60fps to put it on a 24fps timeline, and you putting it on a 25fps timeline. At least not for the slow motion footage.
    The slow motion footage will show every frame when you interpret the footage to 25fps. No problem. It will look great.
    The question is, what will the 60fps footage look like when put on a 25fps sequence at normal speed? Keep in mind the shutter speed is different when shooting 25 or 60.
    And I say "little" difference. The math of 60 to 24 might be easier for the program than 60 to 25. I doubt it. After all, it is just a matter of dropping frames.
    So that leaves the footage content itself. If it can survive the dropped frames, then great! If it is a little choppy, then it really wasn't suitable.
    You have to decide that for yourself. My suggestion is to shoot some sample footage for practice before you do it for anything important. Get to know your camera and how 60fps looks on a 25fps timeline on a BD.

  • PAL 25 fps conversion to 24 fps.

    Forum,
    I have read 24 fps produces a "nicer" look than Pal 25 fps or NTSC 30 fps.
    So have spent some time searching for the means to change the PAL footage to 24 fps. without using Cinema tools.
    Of course there is an option in Tools.
    So I selected a scene in the time line and choose conform 25 to 24 in tools.
    Well it tells me the footage is not 25 fps.
    This news to me as the camera is set to to PAL and I thought PAL is shot at 25 fps?
    Comments and help would be most welcome.
    Thank you
    Michael.

    Well it tells me the footage is not 25 fps.
    This news to me as the camera is set to to PAL and I thought PAL is shot at 25 fps?
    PAL is 25 fps. It's possible that you made a mistake somewhere along the line.
    Open the original media (inside the Capture Scratch folder) in QuickTime Player
    and choose Get Info. Is the framerate 25? If not, then you captured it incorrectly
    or you accidentally changed it.
    Cinema Tools works great for conforming, but if you try something, it will
    save to the file without asking you. Maybe that happened while you were
    experimenting.
    So I selected a scene in the time line and choose conform 25 to 24 in tools.
    To conform you need to select the clip in the Browser, not the Timeline.
    If you conform the clip, then the file gets changed, so every instance
    on the Timeline is changed.
    When you've got your 25 footage conformed to 24, you'll notice that the
    sound is pitched lower, so you'll need to change the pitch of the sound track + 4.17%.
    Of course, the question remains: does it look "nicer"?

  • I am using 4K Footages for editing in Premiere pro CC 2014, but its getting crash in between at every 15 to 20 mins. Kindly suggest how can it be solved, does any plugins or settings needed to edit 4K footages? Also would like to mention that footages fra

    I am using 4K Footages for editing in Premiere pro CC 2014, but its getting crash in between at every 15 to 20 mins. Kindly suggest how can it be solved, does any plugins or settings needed to edit 4K footages? Also would like to mention that footages frame rates are 29.97 and i have set timeline to 25 FPS is requirement by client. kindly revert. Thanks

    Thanks Richarad ..It has solved the problem but still crashes some times .As the programme has the break (bumper)after every five minutes ,i hope it will not compress bumper time too after export.

  • 24 fps to 29.97 fps-

    I’m in a pickle so to speak. I’m editing an independent feature film shot on super 16mm. The director wanted to go back to negative. So I went through Cinema Tools to do the reverse telecine. I imported the files into FCP and edited everything at 24 fps. Well after much time that has passed I’m ready to hand this over to the sound people. However, the director doesn’t have the budget now to go to film so he wants to online the source tapes.
    How do I convert my project/timeline back to 29.97 fps?

    Well the film is already edited at 24 fps. Would love to have the online editor deal with the 29.97 fps situation but I know I need to be involved. The director wants this to be at 29.97 fps. Wish he told me that at the start!!!
    Right now I have to deal with the sound editor and music composer. The online is several weeks away. I know that in a music video that I edited recently in HD that I edited in 23.98 fps and then converted a guide quicktime video to 29.97 fps for the sound editor. He gave me the audio and it played in sync with my 23.98 fps HD footage.
    The problem now is I can't seem to convert my 24 fps to 29.97 fps for the sound editor and composer. I believe that they need to have my guide video at 29.97 fps for them to stay in sync because the final video master will be 29.97 fps.
    So how do I get there from here???

  • Workaround? - Using Interpret Footage AME renders active content only for original movie length

    I submitted a bug on this behavior, but I am hoping that someone has found a workaround or maybe I am just using Interpret Footage incorrectly.
    Here is the problem:
    1. Import 20 second long 23.976fps source file into AME
    2. Right-click item in Queue and choose Interpret Footage
    3. Choose "Assume this frame rate:" and set to 18fps - Duration will update as expected to 0:00:26;19
    Results:
    Output file will have correctly re-timed active content up to 0:00:20;00 and then hold that frame (which correctly corresponds to 0:00:15;00 from the source file) to the end of the file at 0:00:26;18
    Expected results:
    Output file should contain the full content of the source file re-timed for the new duration.
    NOTE: This behavior will also be apparent in the Export settings Preview window prior to encoding.
    Mac OSX 10.7.5
    AME: 6.0.2.81 (64-bit)

    We are actually generating the files ourselves and keeping them 23.976fps (or 25fps for PAL-country clients). We're interpreting the incoming 23.976fps file as 18fps because that is the speed at which it was shot. Super-8 sound film like most other sound film was 'supposed' to be shot / projected at 24fps, but many shooters used 18fps to get more time out of a 50-foot camera load. Our company provides 24p (or 25p) files to clients, and in addition to providing 1 to 1 representations of their film at 23.976fps, we also provide 24p files with duplicate frames inserted so they are easy to work with in NLEs, yet approximate the correct motion for material that was shot at 12, 14, 16, 18 or 20 fps. Our Apple Compressor workflow works great for the 90+% of material that is silent or is sound film shot at 24fps. We would experiment with moving the entire speed-correction workflow to AME if it solved the 18in24 sound problem, and it _almost_ does. The behavior I described is obviously a bug and not 'works as intended' - it will then be a question of whether such an outside use case gets any attention. If I can come up with another use case that would be more popular, then I might get more visibility for the bug. I suppose that some may wish to batch out 24p files from 25p files using the same technique. That is, throw a pile of 25p files into AME, interpret them as 23.976 and write them out to 24p files. I would expect that the last 4% of those files would show a freeze frame...
    Message was edited by: buckbito - typo fix

Maybe you are looking for