Working with a 24fps film
 

I'm about to start Audio Post on a film that was shot and edited (FCP) at 24fps. Although their immediate goal is a VCR lay back for a Film Festival, they intend to transfer to 35mm film eventually.

I've never dealt with 24fps. Everything I've done is NTSC Color Video @ 29.97 df. What do I need from them in order to work in PT? Will a 29.97 QT Export froim FCP work for this situation?

Thanks!

Re: Working with a 24fps film
 

Are you saying they are editing the film in FCP and going to conform the negative later? Why would they transfer back to 35 if it was SHOT in 35? The answer to this may have a lot to do with the right way to go about this.

Much audio post for a feature film is done at 29.97ndf, or sometimes video conformed to 30fps with film-speed guide tracks. You can work at 24 FPS if you have an Igniter Pro/SDI model card natively, if not, you should have them output a video for you which you can work to and conform to 30FPS if you prefer to work that way.

Re: Working with a 24fps film
 

First you might want to carify the 24 frame, If it originated in hd it may be 23.976. In that case 6.4 will support high def pull down. meaning a 29.97 qt and 23.976 omf will work out in pt. If that is not the case an ntsc qt dv will need to be made and they will need to export the 24 frame omf. Depending on your flavor of digi you will either bring in the omf as is and pull it down(hd) or build it as a 24 frame session export as a 30 frame session and import as a 29.97 with src which will line up with the video. when you are done and need to go back to 24 you will pull up 1 percent to match the the 24 frame rate. this information is out there just requires a bit of research..

-ws

Re: Working with a 24fps film
 

Quite right; I forget how prevalent HD is becoming, which was brought home to me as I read the Apple NAB news last night.

Re: Working with a 24fps film
 

Hi Spin Girl

I guess I'm probably too late to offer any help on your project, but one of the things you have likely found out is that not only can there be a frame rate issue, but more importantly if the visuals are sourced at 24 fps on film the video transfer will probably run a little slower than the original film and this is why the sample rate pull-down option is available.

I have experience in both PAL and NTSC post for film and will gladly try to help if you still have queries.

Living in a PAL country I haven't much experience in NTSC "short-form" and my question is about your "colour NTSC 29.97 df" experience. Without exception the NTSC post we have done ("long form")has been non-drop until the final broadcast masters are made.

I would really like to know how much drop-frame audio post is done, and what is the current thinking in NTSC circles as regards drop-frame vs non-drop time code?

Re: Working with a 24fps film
 

drop frame timecode is a way of keeping clock on the wall time (ABS time if you will) in sync with time code. it is useful for broadcasters who only care about an hour being an hour and not a hour+3 something seconds added to the program,it really makes things run soomthly in a broadcast situation. Non-drop on the other hand is primarily used in film and non-broadcast oringinating or destened material. because every frame has a sequential number with no drops in is easier to work with in that regard. also "drop frame" doesn't actually drop frames drom the program, it only changes the frames address. and as for the second part of your question drop from is all over TV in NA man!

peace.