mothmachine
Active member
I work with 59.97 fps footage a lot that I usually want to use as 23.97 fps on a 23.97 fps timeline.
I need to use proxies to use this kind of footage (usually 4K DCI drone footage or Canon CRW), but when I make these, even if I make my own ingest presets, I can't seem to create proxy files of 23.97 fps. I also don't know of a way to interpret the Proxy files as 23.97 fps, as this doesn't happen by default when I have set the frame interpretation on the originals to 23.97.
My unhappy workaround at the moment is that I have two sets of the same 59.97 footage, one of them interpreted at 23.97 and the other at 59.97. I make selects with the 59.97 using the proxy files, and on a separate timeline I have the duplicate clips interpreted at 23.97 but without proxy files.
After I've chosen my clips from my 59.97 selects, I can then match them up by eye to the 23.97 versions, and then cut and paste the 23.97 selects into the timeline of the work-in-progress.
Has anyone figured out how to do this properly?
(The reason I don't just toggle between 23.97 and 59.97 interpretation on the same files is that it messes up the edits as the shot durations change, so that my selects aren't relevant anymore).
I need to use proxies to use this kind of footage (usually 4K DCI drone footage or Canon CRW), but when I make these, even if I make my own ingest presets, I can't seem to create proxy files of 23.97 fps. I also don't know of a way to interpret the Proxy files as 23.97 fps, as this doesn't happen by default when I have set the frame interpretation on the originals to 23.97.
My unhappy workaround at the moment is that I have two sets of the same 59.97 footage, one of them interpreted at 23.97 and the other at 59.97. I make selects with the 59.97 using the proxy files, and on a separate timeline I have the duplicate clips interpreted at 23.97 but without proxy files.
After I've chosen my clips from my 59.97 selects, I can then match them up by eye to the 23.97 versions, and then cut and paste the 23.97 selects into the timeline of the work-in-progress.
Has anyone figured out how to do this properly?
(The reason I don't just toggle between 23.97 and 59.97 interpretation on the same files is that it messes up the edits as the shot durations change, so that my selects aren't relevant anymore).