Covert 3:2 to 24P Timeline (Actually Only Need 12 Whole Frames - Animation)

D

Duct Tape Films

Well-known member
I've discovered, like many before me, that while I meant to be shooting on 24Pa, a few shots in a doc I'm working on were accidentally shot in 24P (3:2). Thing is, I really actually only need 12 whole frames a second to work from (even 10 might do), because it's actually being autorotscoped. I must be having a brain fart, but I just can't get the math to work out right to do the conversion from 3:2 to 24P on down to 12P, yielding only whole frames. Is this an impossibility? If not, how do you do it, as step by step as you possibly can...

Thanks so much in advance...
 
Thanks,

I actually just found a solution that worked great. I'll post it, just in case anyone has the specific issue...

1) Capture Footage At 29.97 fps to 29.97 fps Timeline - Export
2) Bring into Cinema Tools - Conform To 23.98
3) Bring back into FCP, add "Flicker Filter" set to Max.

Last steps are just for folks rotoscoping at 12 fps...

1) Speed to 200%
2) Render
3) Export

The tools at your fingertips these days, sheeschk.
 
That would work. Too bad you're not working with progressive footage which is nicer for rotoscoping.
 
Actually 24p is progressive and yields full frames when run through Cinema Tools.
Not sure what the point is for the 12fps. Making it faster? Less frames to roto?
 
Yes 24p is progressive but when it is shot as 24pN, it is interlaced. When Cinema Tools conforms it to 23.98 it deinterlaces it but is also needs to recompress the file. Being a purist, I would rather work with no-recompressed frames thats all.
 
bgundu,

Most of the footage was shot 24Pa, with the 16x9 adapter. One thing I've found is that if you know you are going to be rotoscoping DVX100 footage using Studio Artist, it would be actually better to set the Vertical Detail to "Thick" lines instead of "Thin". It is able to read the lines better, and smoother.

ScottDVX100,

Classical animation is hand drawn at 12 fps usually, or in the case of Anime', even down to 8 fps. From there you either double up or triple up frames, or morph tween, to get back to 24P. Actually there's even one more speed trick in there. Many times frames are morph tweened all the way up from 8 or 12 fps, up to 48 or 96 fps, or even 120 fps if you're working with 30P origination footage, and then frame blended to get back to 24P. Unless it's 3D animation, or has an extremely static background, 24 drawn fps is way too frenetic to even look at usually.
 
I'm well aware of the animation process but depending on the tools you should be able to just set key drawings every other frame or less and let it interpolate. Certainly dropping every other frame is an easy enough process.
 
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