24pA, 29.97, AND PAL on the same timeline...

korimickster

korimickster

Well-known member
Ugh.

What is the best way to do this? Is there a magical button I am missing somewhere?!

Sequence preset is 29.97. 24pA plays back after render, but is slightly choppy.

::pulls out hair::
 
Since you've rendered something, gotta ask, "plays back choppy" according to what? According to your computer monitor or an external monitor? The computer monitor is a useless litmus test for anything like that, you need to be viewing through an external monitor if you currently aren't. Just had to bring that up since that is showing up as a regular issue with folks.

Also by choppy do you mean it actually seems like the stuff is holding on frames too long or does the motion of the image just feel off? Perhaps you need to adjust your playback settings then for system?

cheers.
 
The image just feels off. You know it isn't right... but 99.9% of the world would never be able to tell.

I have tested on external monitor as well. That's the most problematic viewing experience. Computer monitor isn't really bad at all. Again, most people won't be able to tell. Luckily the final product will be web-only, but I would like a nice clean backup copy.
 
korimickster said:
Ugh.

What is the best way to do this? Is there a magical button I am missing somewhere?!

Sequence preset is 29.97. 24pA plays back after render, but is slightly choppy.

::pulls out hair::
Click to expand...

You're gonna need a trip or two through Cinema Tools. If you're dealing with HD files, be sure to read my sticky up top....
 
If the 24pA footage has the pull down applied, yep, it'll look oh so slightly off. This is because the NLE is having to fill in frames to match 30fps (29.97) that don't exist anymore. There's info missing in between frames, so to speak.

If you can, recapture the 24pA footage and don't apply the pulldown. Then if the NLE has to do anything, it'd be to remove frames. In other words, there's more info for it to work with in the clip.

This is why in-camera slo-mo is much more clear and realistic than NLE generated slo-mo. The NLE has to create "faked" frames that don't actually exist in the original clip, where in-camera it uses the originally photographed frames with all the full image data, nothing has to be faked.

That is IF I'm understanding the situation properly.
 
Hmm ... If you need to go to 29.97, I'd do this ... remove the advanced pulldown of the 24pa and apply a regular 2:3 pulldown to get to 29.97. Then conform the PAL clips to 24p using Cinema Tools, deinterlace them with Fieldskit, apply a pulldown to 29.97. The PAL clips will be 4% slower, but its almost lossless conversion ond fits in well with the 24p footage.
 
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