Pulling 24p out of a 60p ProRes clip?

We are prepping for a shoot next week using an HDX900 recording to a Ki Pro.

Most of the footage is to be shot 24p (23.976) but there will be some elements shot at 60 for slo mo purposes.
The camera operator has suggested shooting the whole thing 60p and pulling 24fps from that later to save time
at the shoot switching the camera frame rate. Plus suggesting we would have all that extra slo mo to play with creatively.

I have used the Panasonic Frame converter plenty of times but I don't know how difficult it will be to pull different frame rates
out of Pro Res.

The camera operator says the he has been told it is easy, apparently not knowing first hand himself.
There will likely by 3-4 hours shooting time of media generated at the shoot.

I am concerned that there will be boatloads of media from the shoot to be processed this was that will overwhelm us in post.
Or.... maybe it's easy.

Anybody done this?

Forget it.
You can't go from 60i or 60p to 24p without pain.
(Shooting 60 for slomo is of course a good idea...)

Think about it, you need to trash 36 frames every second.
You could go to 30 quite easilly, by removing every other frame...

But most imporant, what is your delivery?
If it is DVD, bluray, broadcast or internet, there is no reason NOT to use 30 (or 29.97)
This way you can go from 60p to 30i, and you'll get the best of all worlds.

I've never understood why so many people want to shoot 24 if their final target is 29.97, and i never understood what people have against interlace. IMHO it is just great. Full res at still parts, double the framerate at moving parts.

Bouke
www.videotoolshed.com

Bouke, thanks for the response.

The director is set on 24p. We have shot 30p before and I personally prefer it. Yes it would be simpler to convert it but she is stuck
on 24. The camera op has since pulled back from his suggestion and we are going with 24 for the bulk of the shoot and 60 for specific
slomo material.

But still, the larger question for me is the lack of tools for manipulating ProRes.
I suppose I am pretty ignorant on ProRes issues as we have just recently started using Ki Pro's and ProRes as
an acquisition format.

The one major benefit of shooting 24 is that it is easier to go to the higher frame rates for playback. Going the other way can get pretty ugly. Pulldown is a tried and true method. It doesn't make your workflow any easier if you have to constantly add pulldown for your approval cuts or if you're mixing 24 and 30 in a sequence. (i.e. camera originals and archival video). In that case you can either cut in 30 and let FCP add it's terrible 2224 pulldown to the 24 material for your approval cuts or convert the 24 to 30 before you cut.

To get your overcranked ProRes to play back slow-mo use cinema tools to conform it to 23.976.

Take the knowledge that the cam op was talking out of his ass as advanced warning that you could get anything from a shoot like that.

ak
Sleeplings, AWAKE!