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Frameraten mischen in FCP 7.0.3 Timeline

Frame rate mix in Final Cut Pro 7.0.3 timeline

Frage von Bommel:
Januar 2011


I can imagine that this question is (n) ever showed up here / but from the answers that I found I was not smart or shoot over s.Thema ...
I'd quite like to import it into a 25FPS Timeline 50fps clip.
This is in my Final Cut Pro version 7.0.3 synonymous not a problem.
If I play the clips but the clips appear vivid 50fps and will not be played smoothly. (There are missing frames) If I do everything the same the other way investors come out with.
So far I have only ever worked with 50fps because I never know with my projects when I need to build slow. As can be seen here: http://vimeo.com/18206521
Sorry, but I have now got the material based on 25FPS, which I need to edit and therefore these questions.
Is it really necessary that I have all the clips I have rotated with 50 images of Final Cut Pro now external to convert 25 frames to edit it then? That can not be the solution right?
Is there a way to mix the different Framraten without one of two looks different than it should. Can Final Cut Pro at all?
The goal would be a timeline, and filled with 25-50s clip to have a cash flow of the final product without any clip to adjust the speed of her!
Please read it to be just a tick ... hehehe
Going! Thank you very much ... I'm looking forward synonymous with useful links!


Antwort von Axel:

It is quite clear that if every second Picture is thrown away (easiest method), "pictures are missing." Notice it will only work if the 50p shutter speed was still significantly shorter than 1/50tel, say a 1/200tel (lack of motion blur). Vimeo The film is so synonymous in 25p, and it is not that "pictures are missing."

You could try, timeline with Compressor to export all your and thereby a 25p preset edit explicitly.
zum Bild
Here you could at the tab "image control" under the "conversion rate" means the method Good (Picture blend) (if applied as ramp time) with optimal movement) compensate compare (. The last point should * leave * with crooked retiming (eg 30 to 25) are not images, but 25 new interpolated. Called in FCS "Optical Flow" and is copied of Twixtor. Lasts longer. Test it.

In Final Cut Pro itself is only the first method used in the list, Rapid (Next Picture) ...

Antwort von Bommel:

Fantastic thank you ever ...

But it is unfortunately not the export but the smooth playback in Final Cut Pro ...

The movie on Vimeo is rotated and then processed with 50fps 25fps with exports is clearly ... It was just about the sun only I work with 50fps.

Antwort von Jott:

How would that look like 25p 50p and the same? You have to decide already. 50p in 25p timeline: every second frame away, normal fate. The other way would have the 25p material new intermediate frames are calculated. Where eg (within limits) with Twixtor. Just why, if the final product anyway 25p to be?

Antwort von Axel:

Could it be that you mix not only frame rates, but synonymous codecs?

Antwort von Bommel:

I ask a different kind!

You can export no problem with Final Cut Pro projects as 50p 25p without it somehow looks wrong?


Antwort von Bommel:

"Axel" wrote:
Could it be that you mix not only frame rates, but synonymous codecs?

Yes but what does it matter? But before I render everything with a codec in the timeline ...?

Antwort von TiMovie:

Yes, if you have your 50p footage exportierst with 25p, you should probably no significant difference or not (a matter of taste)
Is then dependent 25p and many say the "jerk" would. I prefer the more in 1080/25p and I never noticed that, although I even, when possible with a shutter of 100 workers.

Antwort von Axel:

"Bommel" wrote:
"Axel" wrote:
Could it be that you mix not only frame rates, but synonymous codecs?

Yes but what does it matter? But before I render everything with a codec in the timeline ...?

There you go around the presentation in Final Cut Pro, not the liquid of the exported master.

Now I know as synonymous 50p 25p, both in 720 as synonymous in 1080, in each of the possible here 25p timelines (no need s.50p for output). Frankly, none of the possible combos leads to a buckling of the real-time. Art: not every second Picture display is easier for the processor. Scaling is also an issue. This is synonymous to an old MacBook to jerk without, would have to go synonymous with you. But:

EX and ProRes (eg from DSLR H.264 or AVCHD) in a Time Line may well limit the real time may different image size, intra-vs. That can s.den intersections have a little bit (!) Inter-frame compression and other image hakeln rate (if it jerky, it is blatantly still another problem: I'm assuming that you do not try to cut native H.264 ). A completely different codec comes into play.

Remedy then? Batch conversion of the more compressed codecs in the other, with compressor (in the above example to ProRes EX). With a 'Droplet (Manual) that goes even reasonably comfortable (Compressor's a bit silly). Then the originals from the Capture Scratch folder move (in your browser to go the clips offline), the offline clips on the new Connect - Dialogue, reconnect uh, this time however with the converted clips. Effort: low.

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