First CC sequence Frame-Rate question

Similar Questions

• frame rate question

  Issue. My first job in after effects is for a large living room in London if bit OMG, is it better to start with rate of 1080 x 1920, but what is it 29.97? Then, I need to save to a file WMV HD

  It is best to start with the technical specifications of what you owe him PROVIDE.  Start with your final product.

  You need to know how your AE work will be used.  How it will be played back.  How it will appear.

  Therefore, ask your client about the frequency of images, playback device, display device, delivery means, LAC and codec.

  Once you know it, they come back and talk to us.  And if this is really your first concert, go hire someone to do the job and follow the Mylenium link provided.  Why?  Because if you are brand new, and this project is due in the next six months, you lose the due date if you go it alone.

  After effects is NOT the kind of application where you learn a few tricks and're you good to go.  You need to know the basics.  Without them, you're sunk.

• Sequence GoPro/DSLR frame rates

  I search for an answer to this for a while and can't seem to find something forward.

  First off I'm shooting videos with a 6 d and a pro hero go 3 + black.

  IM shooting usually 1080 at 30 frames per second with the 6 d and 1080 at 60 fps with the go pro for slow motion shots.

  I use after effects or first (depending on what I want to do in the edition) and get some reading jumpy/choppy/laggy when I finished some projects.

  For example:

  I want the video to end play at 30 frames per second.

  -should I conform to the go pro clips from 60 fps to 30 fps using go pro studio before them sequels if I plan to make idle or time remapping with them? The sequence settings suitable for SPF 30 or 60?

  -clips of play very well before and after that I have them comply in pro studio go but once they are done in my rendering than the shifts of video playback.

  Here is an example between: 20 -: 25 seconds The Quinta, Ca on Vimeo ... to me, it seems that its executives of jumps. In this video I isn't in keeping them in 30 frames per second before hand. I just used temporal and remapping of time to slow them down. I also put pixel interpolation on the clip. (This was shot with a go pro)

  Here's the deal with frame rates. Interpretation of the file ALLOWS you to set the time DO NOT rate or to comply with a new cadence when you're transcoding because you'll lose frames or quality or both. Simple as that. In your workflow I import images from the GoPro, interpret to 29.97 because it is the frequency of images for your computer, then, when you drop the GoPro images in the timeline, it will play at half speed. If you need to slow down more use time-remapping or a plug-in like Twixtor. You will get much better results.

  I hope this makes sense. Slow mo is confusing to people who have worked in the video, but it makes perfect sense for people like me who one has grown up with a 16mm Bolex in his hands and turned images on film up to 20,000 images per second... All projectors (except the old plays football coaches Spotlight analysis usually use to analyze) run at 24 fps so my 20 000 really read fps camera images slowly and you could see all the pop rivets that the spar does not, but it's a different story.

• Rate question frame IEEE 1394

  Dear all,
  Currently, I have a problem with NI MAX and my software that uses niimaqdx for camera firewire 1394.
  I use HAMAMATSU C10600 (ORCA R2).
  When I use the software HCImage that origin of the HAMAMATSU Corporation, I can get good pace which they spoke.
  But in MAX, it does not work properly. For example, rate of rebar binning 2 x 2 is 15.6 Hz. But in MAX, it's only of 10 Hz. I tested binning settings. In Max, it can no more than 10 Hz.
  And I tested all firewire cameras. It has the same problem.
  But camera PCI card does not have this problem.
  Please let me know the solution for this.

  Sincerely,
  Taiyoon Lee

  Hi Taiyoon,

  First of all I suggest you check the camera settings in MAX to ensure that there is no maximum set of frame rates. In addition, you should check to ensure that the duration of exposure and shutter speeds are set so that the highest frame rate is possible. I recommend you take a look at this article in the knowledge base , which covers some troubleshooting operations when the camera acquisition rate is lower than expected.

  Article:

  "High refresh rate may not be achieved because the camera sends all executives. To achieve the maximum frame specified for these cameras, the shutter speed must be increased so that each image can be completed on time. It is an attribute that can be adjusted in Measurement & Automation Explorer (MAX). In addition, make sure that the camera is in the correct video mode. Several times for a camera reach its specified maximum frequency, it must be in Format 7 mode. »

  I hope this helps!

• Question photoshop frame rate

  Hi all

  I have problems making my reading of the video at 23.97 fps on photoshop cc movement timeline. I'm trying a video of rotoscoping is one. MOV exported first cc at 23.97 fps, but when I import it via import of video frames to layers, I still get a timeline of 30 frames per second. Unfortunately, I need the chronology in 23.97 fps. Is it possible to adjust the frame rate of 23.97 fps when I import a video? Help, please.

  Used programs:

  First cc

  Cc of Photoshop

  System Mac OS X

  10.9.5 version

  Hi john-daniela,

  Please check the below tutorials related to it.

  Photoshop frame rate Essentials |

  Using Photoshop | Preview video and animation

  Let us know if that helps.

  Kind regards

  ~ Mohit

• First Pro EDL does not not good frame rate in SpeedGrade

  Having badly to get as a PCA from agency to open correctly in SpeedGrade. EDL export entry in SpeedGrade as a sequence of 24 fps, even if the sequence of the organism is 25 fps. Then when I try to link the media in the Official Journal the I get an error of frame rates do not match. Most annoying and I cannot understand where he's going poorly. Don't want too use dynamic links because I can't have layers in Sg ranking using this workflow (as far as I know, although I would be happy to be refuted). Any ideas anyone? See you soon. Pete.

  Yes, add PrPro adjustment layers is the way correct & 'designed' to get more ranking layers to use SpeedGrade. Even though I forgot to add one before going to the Sg, he seconds to PrPro, 'A new element-> adjustment layer' dragged in the sequence, then back to Sg.

  Neil

• Changed the display pad and how can I change this back to the first and last frame of the clip in question?

  Hi, when you cut a clip using the standard cursor (not the adjustment tool but just the mouse), the behavior that I was accustomed to is it shows the first and last frame of the clip you're carved, in a 2 - up window. Now in the updated 2015 I'm confused because it's still place 2 window, but instead I see the head or tail of any clip is next to any side of the clip, I'm trying to cut. I can see the utility in this, but I would like to know where I can go to the screen more as I'm used to it...

  Thank you!

  Click on the key in the timeline and in the drop-down the menu uncheck Composite overview over the filling.

  MtD

• Frame rate do not seem to Match

  I recently made the leap from Adobe CS3 to CS6... and I have a problem that I've never met before.  I use the two Premiere CS3 and Flash CS3 and I guess the question I am having happens at the first level.  The project is a short animation.  The scene were animated in Flash and then rendered out as a sequence of png for me image to then import in first edition.  I recently finished a very elaborate project using this same technical and had no problems with it at all... but it was CS3.  Sequences of images when I import them to first play more quickly then they should be... as if it's playing back the pace wrong, but according to the sequence settings that is not the case.  I hosted at 24 fps and the parameters of the first sequence also say 24 fps.  There are some scenes involving dialogue and the lipsync is is no longer in place, actually audio clips will now play much longer video clips.  Just in case my eyes were playing tricks on me I double checked that the sampling rate for the audio file also corresponding the sequence settings to make sure it wasn't the audio that was bad... but not in reality, the sound is good but the video playing faster than expected.

  Someone has an idea what could be the cause?  Are there differences in the CS3 to CS6 jump that might come into play here?  I guess that the problem happens when I import in the first, because there are very few options when rendering png frame rate and Flash sequences is not one of them.

  Under Edit > Preferences > media..., you must set the time base media for an indeterminate period to the correct value for your support BEFORE its importation.  Which means that you required to eliminate all media project, set it accordingly and then re-import images.

• Black frame break in first / Inverted & Shifted frame SpeedGrade

  PROGRAM:

  First Pro CC (2015.3)

  Last updated: September 27, 2016

  INSTALLATION PROGRAM:

  Chronology of 1080 / RED EPIC images. R3D files.

  QUESTION:

  Black frame break in first / Inverted & Shifted frame SpeedGrade

  I have encountered this problem after changing the settings of the source (shifted the balance of whites around all clips in the timeline). While color correction through direct link to SpeedGrade. The video would play very well, but when I stopped the video that the chassis of the break would be inverted colors, shifted to off on the side. I turned back on then to first and these same clips would be just black when paused. The thing is that I changed the parameters of the source on all clips, but only some are struggling.

  SOLUTION ATTEMPTS:

  I tried to reset all the settings of source for each clip back to "as shot", but the problems remain.
  
  The only work around I could find, (after trying everything!) was a right click on the clip, by selecting "Render and replace...". "This seemed to be the solution until I exported the sequence and the project fails each time once he hit these clips of issue.

  Help, please!
  Leo

  That's what I called at the beginning of this.

  Adobe PrPro CC 2015.0/1/2 were versions of project PrPro 9.x file.

  However, rather than release the next major release as CC 2016, they did something that broke so MANY of their users and has not yet said what it was they were doing. It is... irritating?

  2015.3 and now 2015.4 are project files built on version 10.x of the software... a major version upgrade! ... and not only a minor or 'dot' upgraded because they seem to be.

  They has not not wanted to bring SpeedGrade long... and without announcement, out 2015.3 with no command 'Send to SpeedGrade' Direct Link or process. When people immediately started screaming on this subject, they finally announced they don't think their number, many people used SpeedGrade and seems not worth it to upgrade to the new version...

  And... we are all invited to back to back like Olde to ranking through export EDL SpeedGrade and two folders of the media on this EDL in Sg, or export a flattened the chronology of project to go to Speedgrade too... then of course, export of another SpeedGrade file and replace the track flattened on the timeline with the media graduated.

  Or export a XML file from PrPro and taking to say the determination, along with... still... two media files or file flattened chronology. Do a power of attorney to the export process again (not the clever internal proxy thing) could also help, by using a flat file support to proxy, then re - link that to the original in PrPro media to complete the round trip.

  That all sounds easy enough, right? ....

  Of course, the other option is to simply use the new workspace of color, with the Group of workspace Lumetri clever UI. Which is really very good and very capable, especially if you are using a control box remote as the tangent of ripple or small Palette blocks. Or... a tangent Panel Elements, really nice but rather in the cost. It is quite achievable through the mouse, but a lot spiffier... more intuitive and able to work more fine, with a control surface.

  Now he's advantages and disadvantages. For works of single clip or a few clips that need really not correspondence of accurate shooting, it is very easy, convenient & fast enough. If you really tight & decently fast shot correspondence between a couple hundred shots, or several secondary, uh... it's... possible... but rather slow, shall we say, than SpeedGrade. In addition to not having a button/process corresponding to the shooting as SpeedGrade, you don't have a real 2-top monitor situation either. You can make sort of a up-2 workspace by using a new job - the separate Panel and plopping monitors reference and reading about it, using the chronology of reading in the reference monitor to define who discovers and main sequence to set the monitor of the program to the item you try to classify and to match that in the reference monitor... or... not.

  For MANY more small, simple projects, the Lumetri Panel is very very good. In pretty rough tests today, I would say the secondary Panel in the Panel of PrPro Lumetri is actually better to pull a tight key than SpeedGrade 2015.1, the latest release of SpeedGrade. Not a lot, but... a little better.

  And you can "stack" Lumetri as of the 'effects' on a clip, to get more secondary or make different parts of the process in different stages... However, the full workspace not Lumetri works with the latest projection (bottom) Lumetri in the effect controls panel, so for instances "earlier" on a clip, you go in the PCE, spin to the bottom of Lumetri effects and use these settings. And... your surface outdoor spiffy won't work with everything, but the last of them either. Huh.

  To move, you can use adjustment layers stacked above the clip, simply go to the color workspace, use the controls there and always Lumetri not use your surface. And Lumetri Panel with your mouse or pentab.

  Order of procession always things, so don't forget... in the effect controls panel, things are top of the process down. Among the witnesses of Lumetri, which also means descendant. Treatment of tips in the Basic tab, then stuff in the Design tab and down.

  Now... also as mentioned in a previous post... There is a nice 3rd party tool/applet a user of SpeedGrade Austrian colleague, Patrick something or other, for about 9 Euro... open, navigate to a project file PrPro, as records and converts the file into changing a (one) character... you use this file in 2015.1 SpeedGrade who thinks it's a file link Direct 2015.2 and therefore correct... and after completing , the application may then re - convert the file 'up' by changing this 1 a character return if 2015.4 sees it as its own file again once and not an earlier version which has need to upgrade.

  Fast... easy.... and seems to work well, with a caveat... AfterEffects "comps" do not always, so if you have those who, rather than to make a model of dynamic links in PrPro, make a direct export of the AE and use the clip exported on the timeline in Prpro.

  I haven't handled files r3d via this of course, but... others have probably, like hundreds of downloads of that file would probably include some red media users. Then I guess it would work, and you are welcome to try a trial download and see if it works for you. I just worked on a project today using this process, btw.

  It is mentioned in this link... and there is a LOT of information about this and other things of the recent changes in the nets of ten or higher in this forum.

  Project of creation/Speedgrade conversion tool

  Neil

• Comply, or transcode mixed frame rates?

  Hello

  I did a quick search in the archives, but still not quite get my head around this:

  I recently shot a personal project on a Greek island. I have a lot of beautiful 5 d MKII sequences of the island to 1080/25 p, a few underwater sequences of diving instructors took to 1080/30 p and a ton of GoPro HD helmet cam stuff I've pulled my bike to 720/60 p. I guess I don't think too much about rates of mixed frame during shooting, because I had too much fun. I went to pull the stuff of cam headphones to 60 p, then I could slow down and I have a few nice ride shots - by mingling with my GVs. Now that I'm in front of the editing suite, which is the best way to use all these images? I will use 1080/25 p as the basis of my time because most of the good things came from the 5 d. I heard that using Twixtor consistent images works really well, but I'm still confused about what the 60 p on the chronology of 25 p stuff will look like. He will play slow? Very confused.

  In general, it is 'better' to give up material of frame rates less in sequences with higher rates. The reason is that Premiere Pro will automatically insert menu drop down in the form of images duplicated to maintain the same frame rate. Let's look at some examples using the images you mentioned...

  You have 720/60 p, 1080/25 p and 1080/30 p. Let's ignore the frame sizes and since you're all progressives, we will ignore the field order (since there is no order of field). In short, you've got 25 fps, 30 FPS and 60 fps. The first thing to do is to decide what you will do with the material of 60 frames per second. If you want to slow down, simply interpret it as fps 25 or 30 frames per second; Right click on an item or several clips, then select Edit > interpret footage. Here, you can change the frame rate. This will cause the playback sequence at least 50% of the speed; you would then use it in a sequence with a time corresponding to all base what you interpreted the images (25 p or 30 p). If you want to keep the images to 60 p, so that you could use excerpts of full motion and then have the ability to slow some, you would use a sequence of 60 p; You can then use the speed/duration dialog box to change the speed of the clip. If you want to only 50% of the speed, who drill into the dialog box without any concern for the interpolated images. Premiere Pro will simply double each image giving you nice, smooth idle.

  Now decide on the material 25 fps and 30 frames per second and how to use it. If you use a sequence of 60 fps, you can simply remove these clips as-is; Premiere Pro dupliquera frameworks as required, maintain the same pace, as if you were using the clips in a sequence with a corresponding frame rate. It's very simple, really: no matter if you shoot at 25 fps or 60 fps, a second being always a second. All that is different is the period for which an image is visible. If you have 25 images to fit in the frame of 60 'niche roles' of your sequence, Premiere Pro will be space executives roughly evenly and reproduce each image as long as it is necessary to reconcile the duration of a single frame in a sequence corresponding to the clip frame rate. Visually, there is no difference - this is why it is best to go to a superior that lower rate. If you go lower, Premiere Pro will actually Skip frames because you have more images to adapt to these "slots" in the destination sequence. This will result in a perceived 'jump', where an image is ignored. You can mitigate this, somewhat, by clicking on an element in a sequence and turning on interpolation; This forces Premiere Pro to interpolate between the ribs ignored. OK, it can work for you, or it may seem fuzzy - test is the best way to check.

  Personally, I think I'd go with a sequence of 720/30 p, assuming that all images of 60 p bike will be slowed down. 1080/30 p images must simply be scaled down; the 1080/25 p also has need to be resized, because every fifth frame will be duplicated to match the frame rate of 30 p sequence; and if the 720/60 p is interpreted as 30 p, you will get a nice 50% idle of your sequence, with no scaling required.

  Still confused?

• Import problems with frame rates for formats HDV 24 p - vs - 29.97 FPS

  Sorry if this has been discussed before but I couldn't find the answer.

  I use a camera Sony HDR-FX1000 with an external recorder card compact flash (Sony also) and I chose 1080i 24 p in the camera to shoot in.  When I pull my card compact .m2t files flash in my first Adobe Elements 3.0 data of the file shows that the frame rate is 29.97 FPS.

  Why Prime Elements 3.0 display 29.97 FPS when I chose 24 p in the camcorder?

  What should spec 24 p look like in elements of Prime Minister? As 24.0 fps?

  Interesting, so even though I'm moving to PrPRO I still have a problem with editing in 24 p?

  Lol PrPro offers what is called a Preset Desktop, which allows the user to set almost all the parameters of the sequence/project, match the pictures. PrE has a limited set of Presets for the most popular attributes only, and is not yet a Desktop Preset with adjustable attributes.

  This ARTICLE could be useful. Jim Simon and Dan Isaacs discuss Film Look, 24 p is often part.

  Good luck

  Hunt

• Change the Frame Rate, frequency rate not when shooting RAW

  I think not all the controls to change the frame rate independent of the frequency rate that, I guess it's like 'project frame rate '.

  How I crank out 240 fps 2 K RAW or say 60 fps (time base 23.98) during the filming of SXS?

  Follow-up to question... is there a manual for this camera accessible to the public anywhere?

  Thank you very much

  BK

  You can overcrank (once again, "S & Q" for "Slow and fast") to XAVC 1080 p at 60 fps at the moment, with firmware v1.10.

  That's all. Any other framerate 60 fps have access by setting a frequency 59,94 system and slow down the images in the post.

• Calculation of frame rates of acquisition image using the 7 Format

  So I finally got my Basler firewire (IEE1394b) camera to capture images at his rate max (120 fps).

  But to do this, I need to use the '7' Format.... which is a bit confusing to me.  When I use the '7' Format, I can't specify the frame (frames per second) rate.  Apparently, you only specify the parameters (length, width, color / mono) of the image and the size of the packets and a few other things.

  So, how can I calculate speed?  I need to know exactly how much time elapses between each image.  And it must be constant.  I can't have a different frame rate.

  NEITHER told I can calculate the frame rate using this equation:

  

  That comes from this article.

  But I am skeptical because the article also says:

  Please note that the time to transfer an image is slightly faster than the time it takes to acquire an image.
  

  People out there can clarify this for me?  Is the frame rate constant?  And then I actually calculate when using size 7?

  The rate will be constant.  It won't change from image to image.  The difficult part is to find what it is.

  Basler camera manual will tell you how to calculate the frame rate.  There are three different calculations, and gives you the slower pace is one you use.  These calculations are accurate enough, I think.

  Another possibility is to measure the frame rate, but that requires several seconds (or minutes) for a measurement precise.  The simplest method is to start a life-long and save a frame in time at the beginning, wait several seconds (or minutes) and save the time of another framework.  Subtract the chassis numbers, subtract the time and divide to get the frame rate.  With a wait of several minutes, it's extremely accurate.  To get the acquisition time, read an image whose value "Next Image", then save the chassis number and read the msec timer immediately after reading.  Using a flat sequence structure is probably the best to ensure that everything happens in the desired order.  If you loop playback, you will see real cadence cadence converge slowly.  Stop it when it is pretty accurate.

  In a program I wrote, I controlled the pace by setting the shutter exposure time.  I used the derived formula of the Basler manual for cadence and reversed to calculate the shutter speed.  This only works if you have another way to adjust the brightness levels (opening, lighting, etc.).

  Bruce

• C90 w/4210/5320 MCU H.239 Frame Rate

  I admit the departure, it's "H.239 101" type question, but our environment is transitional on very old rooms of 4:3 which were never designed to manage content on separate screens so I'm just now my hands dirty with the intended user, experience sharing content.

  My question is around H.239 - cadence for C90 endpoints as well as MCU-4210/5320...on the surface, it seems that they are able to share plenty of movement, full-video cadence in the H.239 channel, right? must be able to handle 720 p, 30 frames per second?

  In tests, I connected a C90 to two MCU to the relatively high rate of calls (1.5 MB, 2,0 MB) and when I check stats, H.239 channel turns to the expected bitrate and resolution-but very low frequency of frames... between 4/7 frames per second

  I think I am missing some setting commonly or game setting between the endpoint and MCU.

  In addition to setting minimum outflow for the content on the MCU, what other effects H.239 - cadence? I tried to play with the settings of weight main/presentation in the C90, but does not appear to affect the results.

  Thanks in advance for any response

  Take a look at this discussion, cisco-mse-8510-content-frame-rate-and-resolution-limitations.  In short, the cadence of the content that is being received and sent by the MCU are dependent on how you have the quality that is configured for the endpoint PC Input, that is to say: (default) sharpness or movement.  There is no middle ground, or dynamic parameters, it's one of those two.

• mixture of frame rates

  What considerations should be taken when mixing records (sony ex1) 25 p and 60 p (or 30) (sony nex 7) records in a common sequence.

  Is it mandatory to convert 60 p (30) to 25 files? Can what effects we expect?

  You may need. Put the 60 p clips in a model of 25 fps and return a test or step in a model at a time and see what things look like. Framework of merger on and interpolation to offshore. The conversion can be a waste of time. There is a caveat.

  If you do a lot of manipulation with the film 60 p as roto, keying, tracking camera, then do these things before integrate you images into your model of 25 frames per second. The workflow depends on the project, but as a general rule, all the heavy manipulation of video should be made to the frame rate natives and if the images are interlaced fields must be separated as you work as much original data you can. Then you go up the artwork for the final rendering. Run a few tests to determine whether or not the shot benefits using Twixtor.