Ugh! 24 fps output issue

Probably the most tiresome of topic on these boards, but I'm in deep do-do once again. My project was cut in 24 fps. Not 23.97, but honest to God 24. And my LTRT tracks are synced up to this. My online guy now says he can't export 24fps to Digibeta. Any idea how to change the 24 fps project into something Digibeta will understand? And also not wreck the LTRT files?

DK

Digibeta is 29.97. Could you not just nest your sequence inside a 29.97 sequence? I don't work much with 24fps sequences, but that's how I'd start.

The reason that 24/29.97 is always a hassle for people is because most times people aren't considering the end game when they start. If you're ending up back on film, cut in 24. If you're not, cut in 29.97. Then there will be far fewer surprises.

Andy

Why? I know I'm not being helpful, but why did you cut 24fps? Did you know that you needed to output to tape? HOW did you get to 24fps?

This is a pretty big mess, and sorry Andy, but just dropping it into a 29.97 sequence isn't gonna give good results.


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What capture card do you have? Most are darn good at adding the proper pulldown. Not sure about solid 24fps to 29.97...but they are good with 23.98 to 29.97...


www.shanerosseditor.com

Listen to THE EDIT BAY Podcast on iTunes
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What about Cinema Tools, Shane? Can that program apply the pulldown?

Andy

See if you can throw that 24 footage into a 23.98 Sequence. That may be less gymnastics and then let the card and software add the pulldown realtime on output.

Andy, thats the beauty of 23.98. It works great with EVERYTHING. It has to be the most flexible and compatible frame rate in the world right now.

Film
DVD
NTSC
PAL
Web

All with minimal problems. And going to NTSC is the easiest. Its instant.

I'm a recent convert. ;-)

-CJ

I don't see where the problem with a 24 fps timeline is, as the timebase is the same as with 23.978 only playback timing is different.
So instead dragging it to a 29.97 sequence you can drag it to a 23.978 one.

Andreas

My online guy figured it out by plopping the show into a 23.97 timeline. I haven't QC'd the digibeta yet but he says it came out great. The reason we set up and cut in 24 was that we had originally planned to output to film, but the budget ultimately didn't allow it. The project also uses a lot of archival footage shot in 35mm (at 24 obviously) so we thought it best to keep in that format. But all's well that ends well...the film will be in a handful of theaters this February, it's called "Military Intelligence And You!"
DK