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All of this could be avoided if you just work at the lowest common multiple of 23.976, 24, 24.97, 25, 50, 54.94 and 60 FPS, which is 1,496,701,800 FPS.
@@TaranVH Not just technically, to be fair. If video editors were written from the ground up to internally work at that frame rate, there would be so many fewer issues with mixing different materials in the same project. No matter what you imported, every single frame would be perfectly positioned, and only the render would need to worry about picking out the right frame to export.
No no no, the precise frame rates you refer to are 24000/1001, 24, 25000/1001, 25, 50, 60000/1001, and 60. The least common multiple of the numerators is only 600000. So your video editor only needs to work at 600 kHz frame rate! Not at all unimaginable IMO.
It's a mood. I poorly edit videos, but in no way a level of which literally any of this will (currently) be useful to me, unless I stop being a horridly complacent, lazy creechoor (unlikely). Taran "rants" are nice.
Man, I LOVE these videos, nobody will ever put this much effort on the matter. I admire Taran for digging into all this technical BS and sharing it for free.
I'm so glad you covered fractional frame rates here, I was planning on making a video on the topic myself because I'm so fed up with all the misconceptions around them. I've seen far too many reddit and other forum threads where beginners ask whether they should use 30 or 29.97fps and get snobby responses from industry veterans stating that you should always use the fractional ones and that true 30 doesn't even exist. Regarding Twixtor, I think it's great because of how many different options and parameters you can tweak. Modern AI frame rate interpolation software creates a better result than Twixtor with default settings, but as an editor you can poke around quite a bit in Twixtor to get the perfect look for each clip individually. And something to add about gameplay footage - sometimes it makes sense to record games with a very high frame rate to later add motion blur through frame blending. Camera footage doesn't need this because there is already naturally occuring motion blur, but games usually either don't have any motion blur or just have some crappy filter thrown on top that doesn't look smooth in post.
Wow, this is the best explanation of frame rate than anything I've ever seen. And I've watched a lot of them. And this is the master class of frame rate. It answers EVERY questions I ever had about framerate, and no one else has ever explained it (and make it easily understandable) like Taran.
13:25 Macs record screen captures at variable frame rate. It's quite possible that was a screen capture from a mac, conformed to the project frame rate of the WWDC presentation.
1:03:30 the reason why they mention resolution is because the calculator is primarily for RED cameras, RED cameras crop the image when set to a lower resolution rather than scaling down.
My guess on the Red Pan Calculator is that resolution does matter. As in, the resolution that you set you Red camera to. Many professional and cinema cameras will perform a sensor crop when you drop down in resolution instead of pixel binning. This will increase your footage's focal length as it's only capturing from tighter and tighter crops from the center of the sensor. Thus, for a subject at a fixed distance, when you drop down in resolution you should slow down your pan, so that it's not moving too fast across the screen.
Taran. You're a gem. Thank you for all of your hard work. Seriously a massive asset to the entire editing community. i ALWAYS learn something new in your videos.
In the old NTSC days, 24 fps film was converted in real time to 30 fps by using what was known as 3:2 pull down. NTSC video actually ran at 60 fields per second because video was interlaced video: Field 1 was the odd lines and Field 2 was the even lines. 3:2 pull down showed 1 frame of film for 3 fields and the next film frame for 2 fields. This pattern was repeated for every 2 frames of film with the result being film running effectively at 30 frames per second.
I kept giggling to myself throughout the whole thing because it is really funny seeing someone getting so pedantic and even angry about freaking framerates but also I am the exact same way about all this stuff so it was also kinda cathartic to whitness for me! Thank you for going through all the trouble of making this :3
This is a great video. A couple of the problems you mentioned could be solved using third party programs like ffmpeg. For example, I would never input 29.97/30 ABCDD footage into a 23.976/24 Premiere project, I would just drop the frames before and transcode it to a lossless codec. Your method of manually blocking all of the dupe frames out and then cutting and combining them is super time consuming and cumbersome when you could easily do it with ffmpeg, or even probably some third party front end like Handbrake if you wanted a more user-friendly GUI. Same goes for interlaced footage if you're importing HDTV/DVD, just deinterlace/IVTC it before it ever even touches Premiere since Premiere sucks at it. This applies again to variable framerate footage, there's no reason to ever import VFR into Premiere as it can't really handle it without losing audio sync. As a side note, I was excited to see at the beginning you were maybe going to explain why Premiere ANNOYINGLY changes 23.976 to 23.98 even though they're clearly different things. This can occasionally lead to weird problems with already edited/cut 23.976 footage where the beginning or ending in/out frames are off by 1 on a "23.98" timeline. Super frustrating. Thanks for everything, nice to see you thriving, looking forward to future videos!
Taran PLEASE! PLEASE d a video bout the top 10 most amateur mistakes make by starting video editors and how to fix them. THE TARAN WAY! 😎 no jokes I learned more from you than a whole semester
I think the vast majority of screens aren’t VRR just yet. Smart TVs started being VRR since 2020 with HDMI 2.1 consoles, and that’s still not all TVs in 2022. Flagship phones and laptops are beginning to get higher refresh rates and VRR too, but it’s still pretty recent outside of PC gaming.
1:26:42 The only thing I would have added is a verbal comparison (since a visual comparison cannot be done in a single youtube video due to variable framerates not exising (in youtube)) of how bad different FPS conversions look through the frame sampling "algorithm" for different input and output framerates. What do I mean by that? I mean... If... say... I have an uncoordinated film crew and I have one guy recording at 25 FPS while the other guy is recording at 30 FPS and I end up with half of my footage in 30p and half in 25p... should I record again? Yes. But if I can't record again, should I create the sequence in 25 FPS or 30 FPS? The thing is, 30 FPS on a 25 FPS timeline looks REALLY bad, while 25 FPS on a 30 FPS timeline still looks bad, but MUCH better than the previous setup. That's what I would add to the video and I actually expected it there since the video is called the ULTIMATE guide. Otherwise the video is pretty exhaustive and on point and I didn't notice any mistakes apart from one mistake in the section that you cut out (the section about PWM lights) but since you cut it out then it doesn't matter. And yes, that 25p vs 30p thing happened to me IRL. However I wasn't the one editing the video and the other editor just made the timeline in 25p and ignored the stuttering completely which caused a giant shit-storm. A couple months later I edited the same footage for a different video and I made a 30p timeline, tried to use as little 25p footage as possible and applied optical flow wherever it looked better than frame sampling. Not a single person noticed.
@@TaranVH You wrote that in order you avoid PWM flicker manifesting in your footage you have to adjust shutter speed. Which is true... but it's only half the truth. As you pointed out, shutter speed and framerate are very closely related. The truth is, you have to adjust either the shutter speed or the framerate, but since it's easier and faster to do the former rather than the latter I guess it's discussed less frequently. But the option is still there. Sometimes. I say sometimes, because the frequency of the PWM signal is usually unknown and it may or may not match a framerate that is available for you to pick. But it's good to know that this option exists. It's kinda funny because for the conversations about NTSC Vs PAL regions the thinking is reversed. Everybody talks about how you cannot record in an NTSC mode in a PAL region (and vice versa) because it *WILL* cause flicker when lights directly powered by AC are present. The thing is, it won't cause flicker if you just take your time to properly adjust shutter speed. In both cases it's either the framerate OR the shutter speed that has to adjusted.
Changing the frame rate / shutter speed to get rid of flicker only works with lights that are synced to the mains voltage (50 / 60 Hz), today in 2022 only very specific types of lights do this like old magnetically ballasted fluorescent lights, sodium lights and certain cheap mains powered LED lights, those lighting technologies however are old and inefficient so you see them in fewer places. Instead electronically ballasted CFLs, and modern mains and battery powered LEDs are used however they are driven at much higher than 50/60 Hz, almost always > 100 Hz, at this point you will instead get multiple flashes of light within a single frame (as shown in the bedroom example scene) because of the rolling shutter and sensor readout time unless you have an insanely expensive scientific camera with a global shutter. There is pretty much no way to fix this without either changing the lights you're using or getting a lower megapixel camera with faster readout times. Some studio lights do use PWM brightness control however they use frequencies in the high kHz so you get multiple flashes within the same line readout for normal video, but you'll still get banding at very high frame rates. Some also do special pulse skipping and spread spectrum dithering to comply with RF noise requirements so syncing anything up to them is impossible. Solution is to get 'constant current dimmed' LEDs, however marketing materials don't always state this and can be self contradicting, LEDs do exist that are both constant current driven and PWM'ed for brightness which still cause banding. My solution was to build my own LED lights, but now there's a lot better selection and reviews are a lot better often testing for this.
@@WizardTim When I wrote "But it's good to know that this option exists" I was thinking about slo-mo cameras with global shutter and a big-ass range of FPS settings you can choose from. But then when you're doing slo-mo you probably have control of your lighting so I guess that's a very niche example. But even with rolling shutter cameras while recroding in 24/25/30/50/60 fps you can still sometimes totally get rid of the flicker BUT it depends on the exact properties of the camera and the PWM lighting used. It is rarely actually possible IRL but it is still possible nontheless. Usually the best you can do is mitigate the flicker and make it unnoticable for 99% of viewers, but there are edge cases where you can get rid of it totally. "those lighting technologies however are old and inefficient so you see them in fewer places." Where I live, those flickering lights are pretty much everywhere and we just only started to embrace LEDs in my country. My country is also in the top 3 of coal burners in the EU and we have a society of people who are anti nuclear power and anti-vax please get meoutofhereI'mlosingmymind
1:18:30 The one camera I know lets you shoot in 23.976 and 24 frames per second is the Blackmagic Pocket 6K Pro I'm pretty sure other Blackmagic cameras can also do it, but I haven't seen anything about 30, 60, or 120. It seems like they only added the option of 24FPS.
I was going to say this. To be specific, the pocket 4k can do 4k DCI 23.98, 24, 29.97, 30, 59.94, and 60. I'm going to assume the Pocket 6k can too. The GH5 II and GH6 can only do 24p.
take a 30 fps clip, optical flow and play it at like 12.5% speed, speed it up to 800% using frameblending and u got home made motion blur. the result pedends by the clip
1. the detect-edit portion to apply optical flow might be easier by nesting the individual shots. optical flow is then unable to use visual material of the next shot, which we don't want. this should result in a consistent length as well that syncs with the slowed audio if ever needed. you could also preemptively remove 1 frame at the end of every shot before slowing the shots down, should also work but makes the entire thing shorter like you said. 2. i used twixtor back in the day when optical flow wasn't a thing (in after effects too) and it was really cool for it's time but with optical flow as a native feature i don't think it's worth it. it has pretty much the same issues.
Wouldn't it be great if editing software finally got ther sh* together and *_actually supported_* variable framerate properly? I dont see any reason at all why you couldn''t just preserve each clip's frame timing all the way to the exported video, let the video player deal with it (which they have been able to do for over a decade at least) and ideally get passed throught to a variable framerate display as well...
15:53 I basically did this for years and still do it sometimes, although it made some parts of my videos look weird for example my phone's rear camera can do 1080p 60 but my selfie camera can only do 1080p 30 so I would just set my timebase to 60 every time if I was using native 60 fps clips or 30 fps clips but as soon as I got a Camera that can do multiple frame rates I generally just stick to 30 now or 24 if I'm doing cinematic style video. I only ever shot at 60 all the time was to always be able to slow down a clip in my videos although nowadays I don't do that as much so back to 30 it is.
Pssst. Blackmagic cameras do give very clear and simple options to choose between integer and fractional frame rates... And no. I have not a single clue as to why almost all other manufacturers make it so friggin obtuse to choose frame rates. I think companies like Arri also exposes those options but I havent used their gear. Though I have heard that one of the reasons Arri is so beloved is because of their menu systems. They just get out if the way. Canon, Lumix, Sony etc... On their cameras it's like video menus were an afterthought... An afterthought that got machine translated from japanese in the 80s and noone in charge has bothered to do any form of real world UI experience tests as everything you want to set is hidden behind cryptic brand specific jargon and horribly outdated design mentalities. Yeah sure call the menues for still frame capture the "recording" menu... that won't confuse users at all, Panasonic!?
A good practice for variable framerate footage would be to transcode it to an intermediet codec (prores/DNxHQ) or any other codec of your choice that uses fixed framerates. That would lock audio and video as they are avoiding the sync/ issues you experience editing it natively (without transcode first). And that's much easier/faster than shift andio every paragraph manually.
119.88fps can be a good way to mix framerates; (23.976 * 5) (29.97 * 4) (59.94 * 2) all work as factors of 119.88. There will be repeat frames, but all footage will play back exactly as each bit was recorded. @00:37:00 - I have FFMPEG scripts specifically for timelapses. tmix is great for preparing timelapse footage.
Why not just use Twixtor plugin? It's been around for more than two decades and can optically flow the footage's framerate to make it consistent with whatever export framerate is chosen.
@@NUCLEARARMAMENT Sometimes twixtor can work well. As often as not twixtor is worse than mixing framerates without interpolation or mixing to a common framerate. Twixtor can be something to experiment with, but I've not found it useful explicitly for combining framerates in the same project. 119.88 is a fine project framerate when working with multiple source ntsc framerates; the high common framerate means that all source material displays as recorded and irregular frame time issues can be avoided until changing to some lower framerate.
mp4 containers actually can use a variable framerate. It's just that most editing software can't do that and a lot of software isn't expecting it. You can even put a 60 fps video in a container that says its 30 fps. Premire will retime the clip to 30 fps while vlc will play it at 60 fps while telling you it's 30 fps. Just in case you want to want to manipulate video metadata at some point ;)
1:18:16 Blackmagic cameras allow you to do that! Specifically my BMPCC 4K (great camera). You can choose the framerate freely between 23.976, 24, 25, 29.97, 30, 50 and 59.94.
On the note of pros getting this wrong, a lot of Universal 4K Blu-ray’s of catalog titles have extras in 23.976 even though they were originally in 60i. Looks like garbage.
I once made a video with 30 & 60 FPS footage and exported to 60 FPS, but came out looking like 30 FPS. It drove me crazy and I never figured out why it came out like that.
I recently purchased Topaz Video AI and the tool I use the most is the framerate conversion; so far I couldn't see any artifacts. It's very useful, especially when mixing stock footage.
1:18:28 Since you asked! The black Magic Pocket Cameras do, and in turn I believe all of the black magic cameras do. Trying to compete with RED and ARRI they share a lot of the same firmware features like manually entering in the framerate you want. So all modern RED ARRI, and black magic cameras do. This may be old news to you now since this video is a year old, but I'm enjoying comenting 😂
Wow. This video auto played for me and THANK YOU so very much for SLOWING down to a pace I can understand! I like Gerald Undone but absolutely cannot keep up with him. It's like he's drank 10 espresso shots. Haha.
very well researched video, almost feel guilty mentioning that Vegas hasn't been "Sony" Vegas for at least 6 years now but you did ask for a comment so... :)
The key takeaway from Matt Smith’s video is that 59.94 and 29.97 etc. aren’t exact anyway because they’re actually (1000/1001)*60 and (1000/1001)*30 etc., respectively. So to fix timing issues mathematically in AE, adding “(1000/1001)” or “(1001/1000)” to your AE scripts should fix the smearing & other related issues.
would be nice if the world of video, editing, transport, hosting, the whole stack, would embrace and support VFR better. the only real alternative for using VFR to have your video suddenly change from 30 to 24 and back is to have a bonkers 120fps timebase to accomidate 30, 60, 24. and even then you don't have 25 for pal TV, you have to go up to 600 to get all four of the common integer FPSes
It still bothers me that 23.976 specifically exists -- 29.97 and 59.94 I can understand from a historical NTSC perspective. But broadcasting footage shot at 24 OR 23.976 fps will *always* result in some sort of stutter or judder, because of 3:2 pulldown. So I have no god damn idea who thought that it was necessary in any meaningful way for 23.976 to even exist if it has to be pulldown'd anyway. Neither fractional nor whole-number 24FPS fits neatly into 60 or 59.94, so why the hell does it exist?? Maddening. Great video Taran, I learned a lot, and I actually got some inspiration thinking about the optical flow effect in premiere. I feel it could be intentionally used as a low-budget sci-fi energy effect, like to emphasize some sort of energy field.
The best part of fractional frame rates is that 23.976, 24.97, and 49.94 should not exist. 29.97 exists so *NTSC* was compatible with both BW and color. PAL just dropped support for BW altogether, and the other necessities for PAL color were made with the hindsight of NTSC's 29.97 mess in mind.
Does the RED calculator give different calculations based on resolution because RED sensors crop in on the sensor when recording in anything but their native resolution and therefore change the frame size? Some cameras just downscale when jumping from say 4k to 1080, but RED will crop the sensor to fit the resolution. Maybe this is why jutter is effected by resolution?
What would interest me is, how US and European TV signals make the same live footage look smooth, even tho its different frame rates. So for example, US Sports are produced in 60FPS, but look perfectly smooth on European TV, that works with 50FPS. Or the other way around, most international sporting events are produced in 50FPS, like Formula1 and the FIFA World Cup, still they look perfectly smooth on US TV. How's that transformation from 60 to 50 and 50 to 60 done?
I'd be very thankful if someone could help me out with my problem :O So I'm editing in DaVinci Resolve 17 and I have a problem with speeding up my footage. Basically, my footage is shot at 50fps so I have an option to slow it down, but usually I just leave it to play back at 100% on my 25fps timeline. The problem is when I speed up some clips to 800% (I use them for transition purposes) I get a lot of footage lost, a bunch of skipped frames in stead of a very fast fluid video. But when I edit the same way on my iPhone within InShot I get much smoother clips that are pretty much 800% sped up as well.
Had to do a film restoration job with the video on 24fps film negatives and the audio on 30fps stereo betamax tapes. Had to scan the tapes five times over with offset TC starts to get the exact audio sync for the film, then Avid decided to f around with 23.976 and 24 in the middle of all that. 3:2 pulldown is the bane of my existence.
Fujifilm cameras can distinguish between shooting a fractional 23.98 and true 24 fps. Unfortunately they only offer fractional 29.97/59.94 fps but are upfront about it in the menu settings at least.
As per usual, Taran pulling out all the stops to release an A+ edited video educating the masses on something they should know, for the low-low cost of $0.
Here in the UK all our movies that were shot at 24.00fps were & still are speed up to 25fps transmitted at 50i. For many years without audio pitch correction. Wasn't till we got blue-ray media I picked up on actors voices sounding lower pitch to what was aired.
Ironically for the content of this video, the "Film mode" on his TV at 1:13:55 is supposed to detect when 24fps content is being played with repeated frames and play it correctly at 24fps (well, actually displaying repeated frames at the 120/240fps refresh rate of the panel and having it evenly divide to 24fps).
Can u please Tell us what it's happening when u use field options flicker removal, I worked in the past at a TV Station with editing in SD PAL and when I put NTSC video I always use fliker removal because on CRT tunele television looked really awfull. Thank u Taran I learned a lot from u!
54:00 I think you use the wrong "ai" interpolator. There is a free software called "Flowframes" which includes real ai interpolators and has a very good result in interpolating
How can this be free? We need more of this content. At my age i can choose gear or extra Knowledge. (I am allround video student, school is sort of free in NL) i respect this content to be free
the ai interpolator that Topaz uses has an option to detect repeated frames (number to trigger can be adjusted) and replace them with newly interpolated frames. Not sur about the stutter. I guess you can throw the stabilizer at it and hope for the best. Who knows, where that leads. Presumably to the point where it is good enough to not bother with manual fixes anymore. Unless they are well paid for.
NGL Taran, I didn't think I'd watch the whole video but your presentation was super engaging! Also, the arri Alexa minis we use at work do have true 24/30/60, but we still shoot dropframe for whatever reason lol
Thanks for this man. Super informative. I might be more confused now than I was before on one thing: I too shoot Sony, but at 24 (I MEAN 23.976). My timeline automatically sets an intermediate timebase of 29.97 Non-drop. Would I be better off filming at 30 (BY THIS, SONY MEANS 29.97) or changing my intermediate to 24 (I MEAN 23.976)? I had a weird thing where I changed the intermediate mid-way through an edit to smooth out a graphic or something and it shifted audio sync on every clip after that was time stretched and it was suuuuper fucking annoying.
23.976fps and 23.976fps Drop frame timecode is the industry standard for films and TV shows. So I would say it's best for them to match for professional applications, unless you're mixing framerates in which case I have no clue. However, if you're uploading to RUclips where 30fps could be considered OK because you are working by your own standards, you might as well film at 30. It looks smoother anyway.
@@embismusic yes, uploading to yt and mixing framerates. 24 A-roll and 60 or 120 for my B-cam in multicam sequences. Seems like 30 might be the right choice for A-cam and my intermediate timebase.
hey taran, been 2 months since the last upload and i know that's on brand for the channel in terms of schedule. but i just wanted to drop by to wish yah a very late happy new ear and christmas.
Apparently iPhone (as many creators actually use semi professionally) record in true 24/30/60 FPS, however in a variable framerate so for all intents and purposes that may be just worse BUT perhaps you know better what is the case here, nevertheless if iPhone choose to stick to true framerates perhaps that is the future for the rest of the pro gear?
@1:03:14 My thought about RED's calculator is that RED's different resolutions are all cropping in on the sensor, so they're kind of NOT the same focal length. This is one of my biggest, aside from them using cheap Chinese parts, reasons I haven't bought a RED.
Holy cow! This was an awesome video! Answered literally every question I could ever have thought of regarding this topic. Tryin to cram 25fps footage into the same timeline with 23,968 fps footage. Still wondering what the best option is.
About monitor framerates: when watching ANYTHING on a computer with a single monitor, EVERYTHING gets displayed at the framerate the video graphics chip is set to. This includes what you're watching in Premiere or any other NLE. TVs may be able to adapt to the signal coming from a Blu-Ray player, game console, or camera, but when the computer says the monitor shall run at 60 FPS, this applies to all applications running on that desktop. This MAY be overridden when watching video on a second monitor in full screen mode, but if you're using a single screen, your NLE is resampling (and stuttering) your 23.976, 24, 25, 29.97, 30, 50, 59.94, or 60 FPS timeline to whatever your monitor is set to.
How about when shooting S&Q with, for example Sony FX6, capable of 120fps @ UHD, and setting project fr at 50 or 25 (EU/Finland, TV standard), the camera already slows down the footage to 50fps, how does it do it and should I use 100fps instead? I haven't yet had a closer look at the footage (just media player quick looks while transferring fron card to T5 ssd)
hey! curious what settings have you landed upon? i am from estonia and i am trying to figure out what to stick for the future. So long have been filming pal in pal countries and ntsc in usa etc, but having to constantly deal with mixed framerate projects. want to choose one - either pal or ntsc once and for all and stick with it. for flicker would make sense to choose PAL (as living in Europe), but for more fps for slomo would like to choose NTSC.
Interpolating the audio and just running the clip a little faster/slower is probably the best way to deal with small differences in frame rate. It's what they did to put movies out in PAL regions before TVs could run at anything but the local analog TV frame rates.
As for variable refresh rate thing, even on fixed refresh rate monitors, you can choose different refresh rate if the monitor supports it. So when I watch a 24 FPS video on youtube, I just switch desktop to 48Hz and 50Hz for 25 and 50 FPS videos and so on. To not go through the headache of going to display settings every time, I just use Hotkey resolution Changer and change the refresh rates using keyboard shortcuts.
I fucking loved this video. I've been a video editor for 8 years and could definitely get kind of sloppy when it comes to framerate. For whatever reason, I have a really hard time seeing motion stutter. It's just something my brain doesn't pick up on. I've known a lot of the rules Taran laid out on principal but it was eye opening to see the real world impact those principals have and the math behind them. Thank you, again! (Also, Taran, it seems you've been doing more and more freelance work for other RUclips channels... Have you picked up any broadcast work? I know 29.97 is a clumsy standard but it's far more important in that atmosphere than it is in the world of digital.)
Did I miss any discussion of telecine? It was common for TV content shot on 35mm film, in 23.976 fps, to be telecined (3:2, for example) for broadcast over 29.97 fps or NTSC DVDs on 29.97 fps. It was a good enough solution in the old days of CRTs without perceptible stutter. A lot of this video’s discussion seems to be focused on progressive video for Internet distribution.
Hey Taran. Thanks again for the great detailed video! I have a question if you don’t mind… again. 😂 how come if you speed up the footage in premier the pitch changes, but if I speed your video in YT 2x the pitch remains the same. Just the video moves faster… 🤔🤔. From a deeply confuse wannabe video editor I am thankful. Have a great rest if your day.
13:47 You could automate this by dumping the frames, find and delete duplicates and then add the frames back together Also white text on a pink background (1:00) is somewhat hard to read (for me at least)
55:30 I think if you are recording something at night, recording in 30 fps to get brighter frames and then interpolating to 60fps could actually look better than recording at 60 yourself.
You can't imagine how much usefull is this video for me, i'm working at a company conforming timelines and sometimes we have issues with archive material, now i know how to do it better. I really love this video, and apreciate your time to do it! Thank you for this!
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Which Stand-up Maths video? @01:17:06
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You actually took one of these sponsorships 😂
All of this could be avoided if you just work at the lowest common multiple of 23.976, 24, 24.97, 25, 50, 54.94 and 60 FPS, which is 1,496,701,800 FPS.
Technically correct... the best kind of correct!
I just know Taran did the math before he replied ;-)
@@TaranVH Not just technically, to be fair. If video editors were written from the ground up to internally work at that frame rate, there would be so many fewer issues with mixing different materials in the same project. No matter what you imported, every single frame would be perfectly positioned, and only the render would need to worry about picking out the right frame to export.
@@HenryLoenwind But wouldn't it take much more time to compute on other hand, though?
No no no, the precise frame rates you refer to are 24000/1001, 24, 25000/1001, 25, 50, 60000/1001, and 60. The least common multiple of the numerators is only 600000. So your video editor only needs to work at 600 kHz frame rate! Not at all unimaginable IMO.
new bible just dropped
fax
based god
This is like Book of Mormon while the ffmpeg fertility ivory effigies are just lying here.
Taran van Hemel (Taran from Heaven)
Bible 2.0 let's gooo!!!
I don't even edit videos or do anything like this I just enjoy watching Taran talk about anything
Sames!!! I just like to hear the dude talk.
That's why I'm here lmao
It's a mood.
I poorly edit videos, but in no way a level of which literally any of this will (currently) be useful to me, unless I stop being a horridly complacent, lazy creechoor (unlikely). Taran "rants" are nice.
@@KittyKatKya creechoor
Some people use them to fall asleep!!
I feel like I should be paying money for tutorials this good.
I agree.
Found you.
same
You are, by watching the ads.
your paying with your soul
Love these deep dives. As always, will be sharing with my production teams on Monday, appreciate all the hard work that goes into this content.
k
@@ilusions4 rude
@@pcislocked don't even bother man, bro thinks he's him
Man, I LOVE these videos, nobody will ever put this much effort on the matter. I admire Taran for digging into all this technical BS and sharing it for free.
I'm so glad you covered fractional frame rates here, I was planning on making a video on the topic myself because I'm so fed up with all the misconceptions around them. I've seen far too many reddit and other forum threads where beginners ask whether they should use 30 or 29.97fps and get snobby responses from industry veterans stating that you should always use the fractional ones and that true 30 doesn't even exist.
Regarding Twixtor, I think it's great because of how many different options and parameters you can tweak. Modern AI frame rate interpolation software creates a better result than Twixtor with default settings, but as an editor you can poke around quite a bit in Twixtor to get the perfect look for each clip individually.
And something to add about gameplay footage - sometimes it makes sense to record games with a very high frame rate to later add motion blur through frame blending. Camera footage doesn't need this because there is already naturally occuring motion blur, but games usually either don't have any motion blur or just have some crappy filter thrown on top that doesn't look smooth in post.
Wow, this is the best explanation of frame rate than anything I've ever seen. And I've watched a lot of them. And this is the master class of frame rate. It answers EVERY questions I ever had about framerate, and no one else has ever explained it (and make it easily understandable) like Taran.
I forgot I had notifications turned on for you and I am pleasantly surprised! Happy to see a new vid come out, with a sponsorship no less!
13:25 Macs record screen captures at variable frame rate. It's quite possible that was a screen capture from a mac, conformed to the project frame rate of the WWDC presentation.
1:03:30 the reason why they mention resolution is because the calculator is primarily for RED cameras, RED cameras crop the image when set to a lower resolution rather than scaling down.
Finally, someone who doesn't skip essential subjects and teaches you the whole package
Never was and never will be a video editor, but this video is packaged so well, I enjoyed every 2nd frame of it.
My guess on the Red Pan Calculator is that resolution does matter. As in, the resolution that you set you Red camera to. Many professional and cinema cameras will perform a sensor crop when you drop down in resolution instead of pixel binning. This will increase your footage's focal length as it's only capturing from tighter and tighter crops from the center of the sensor. Thus, for a subject at a fixed distance, when you drop down in resolution you should slow down your pan, so that it's not moving too fast across the screen.
Beat me to it
Taran. You're a gem. Thank you for all of your hard work. Seriously a massive asset to the entire editing community. i ALWAYS learn something new in your videos.
HAHAHAHA, the apple impersonation was so good.
In the old NTSC days, 24 fps film was converted in real time to 30 fps by using what was known as 3:2 pull down. NTSC video actually ran at 60 fields per second because video was interlaced video: Field 1 was the odd lines and Field 2 was the even lines.
3:2 pull down showed 1 frame of film for 3 fields and the next film frame for 2 fields. This pattern was repeated for every 2 frames of film with the result being film running effectively at 30 frames per second.
Well, hello Taran! I watched both of your 3+ and 4+ hours tutorials. You're a great editor and a fenomenal human being! _Abraços do Brasil!_
I kept giggling to myself throughout the whole thing because it is really funny seeing someone getting so pedantic and even angry about freaking framerates but also I am the exact same way about all this stuff so it was also kinda cathartic to whitness for me! Thank you for going through all the trouble of making this :3
I had to laugh so hard at this comment! Same here! 🤣🤣🤣🤣
This is a great video. A couple of the problems you mentioned could be solved using third party programs like ffmpeg. For example, I would never input 29.97/30 ABCDD footage into a 23.976/24 Premiere project, I would just drop the frames before and transcode it to a lossless codec. Your method of manually blocking all of the dupe frames out and then cutting and combining them is super time consuming and cumbersome when you could easily do it with ffmpeg, or even probably some third party front end like Handbrake if you wanted a more user-friendly GUI. Same goes for interlaced footage if you're importing HDTV/DVD, just deinterlace/IVTC it before it ever even touches Premiere since Premiere sucks at it. This applies again to variable framerate footage, there's no reason to ever import VFR into Premiere as it can't really handle it without losing audio sync. As a side note, I was excited to see at the beginning you were maybe going to explain why Premiere ANNOYINGLY changes 23.976 to 23.98 even though they're clearly different things. This can occasionally lead to weird problems with already edited/cut 23.976 footage where the beginning or ending in/out frames are off by 1 on a "23.98" timeline. Super frustrating. Thanks for everything, nice to see you thriving, looking forward to future videos!
To all people who came here to read some comments if it's worth it before watching the video: i can't explain it, YOU HAVE TO WATCH IT
Taran PLEASE! PLEASE d a video bout the top 10 most amateur mistakes make by starting video editors and how to fix them. THE TARAN WAY! 😎 no jokes I learned more from you than a whole semester
I think the vast majority of screens aren’t VRR just yet. Smart TVs started being VRR since 2020 with HDMI 2.1 consoles, and that’s still not all TVs in 2022. Flagship phones and laptops are beginning to get higher refresh rates and VRR too, but it’s still pretty recent outside of PC gaming.
I have VRR support, but don’t use it because the inconsistencies when my FPS drops below my Hz is horrendous while competitive gaming.
1:26:42 The only thing I would have added is a verbal comparison (since a visual comparison cannot be done in a single youtube video due to variable framerates not exising (in youtube)) of how bad different FPS conversions look through the frame sampling "algorithm" for different input and output framerates. What do I mean by that? I mean... If... say... I have an uncoordinated film crew and I have one guy recording at 25 FPS while the other guy is recording at 30 FPS and I end up with half of my footage in 30p and half in 25p... should I record again? Yes. But if I can't record again, should I create the sequence in 25 FPS or 30 FPS? The thing is, 30 FPS on a 25 FPS timeline looks REALLY bad, while 25 FPS on a 30 FPS timeline still looks bad, but MUCH better than the previous setup. That's what I would add to the video and I actually expected it there since the video is called the ULTIMATE guide. Otherwise the video is pretty exhaustive and on point and I didn't notice any mistakes apart from one mistake in the section that you cut out (the section about PWM lights) but since you cut it out then it doesn't matter.
And yes, that 25p vs 30p thing happened to me IRL. However I wasn't the one editing the video and the other editor just made the timeline in 25p and ignored the stuttering completely which caused a giant shit-storm. A couple months later I edited the same footage for a different video and I made a 30p timeline, tried to use as little 25p footage as possible and applied optical flow wherever it looked better than frame sampling. Not a single person noticed.
Interesting stuff!
What did I get wrong about PWM?
@@TaranVH You wrote that in order you avoid PWM flicker manifesting in your footage you have to adjust shutter speed. Which is true... but it's only half the truth. As you pointed out, shutter speed and framerate are very closely related. The truth is, you have to adjust either the shutter speed or the framerate, but since it's easier and faster to do the former rather than the latter I guess it's discussed less frequently. But the option is still there. Sometimes. I say sometimes, because the frequency of the PWM signal is usually unknown and it may or may not match a framerate that is available for you to pick. But it's good to know that this option exists.
It's kinda funny because for the conversations about NTSC Vs PAL regions the thinking is reversed. Everybody talks about how you cannot record in an NTSC mode in a PAL region (and vice versa) because it *WILL* cause flicker when lights directly powered by AC are present. The thing is, it won't cause flicker if you just take your time to properly adjust shutter speed.
In both cases it's either the framerate OR the shutter speed that has to adjusted.
Changing the frame rate / shutter speed to get rid of flicker only works with lights that are synced to the mains voltage (50 / 60 Hz), today in 2022 only very specific types of lights do this like old magnetically ballasted fluorescent lights, sodium lights and certain cheap mains powered LED lights, those lighting technologies however are old and inefficient so you see them in fewer places.
Instead electronically ballasted CFLs, and modern mains and battery powered LEDs are used however they are driven at much higher than 50/60 Hz, almost always > 100 Hz, at this point you will instead get multiple flashes of light within a single frame (as shown in the bedroom example scene) because of the rolling shutter and sensor readout time unless you have an insanely expensive scientific camera with a global shutter. There is pretty much no way to fix this without either changing the lights you're using or getting a lower megapixel camera with faster readout times. Some studio lights do use PWM brightness control however they use frequencies in the high kHz so you get multiple flashes within the same line readout for normal video, but you'll still get banding at very high frame rates. Some also do special pulse skipping and spread spectrum dithering to comply with RF noise requirements so syncing anything up to them is impossible. Solution is to get 'constant current dimmed' LEDs, however marketing materials don't always state this and can be self contradicting, LEDs do exist that are both constant current driven and PWM'ed for brightness which still cause banding. My solution was to build my own LED lights, but now there's a lot better selection and reviews are a lot better often testing for this.
@@WizardTim When I wrote "But it's good to know that this option exists" I was thinking about slo-mo cameras with global shutter and a big-ass range of FPS settings you can choose from. But then when you're doing slo-mo you probably have control of your lighting so I guess that's a very niche example. But even with rolling shutter cameras while recroding in 24/25/30/50/60 fps you can still sometimes totally get rid of the flicker BUT it depends on the exact properties of the camera and the PWM lighting used. It is rarely actually possible IRL but it is still possible nontheless. Usually the best you can do is mitigate the flicker and make it unnoticable for 99% of viewers, but there are edge cases where you can get rid of it totally.
"those lighting technologies however are old and inefficient so you see them in fewer places."
Where I live, those flickering lights are pretty much everywhere and we just only started to embrace LEDs in my country. My country is also in the top 3 of coal burners in the EU and we have a society of people who are anti nuclear power and anti-vax please get meoutofhereI'mlosingmymind
1:18:30 The one camera I know lets you shoot in 23.976 and 24 frames per second is the Blackmagic Pocket 6K Pro
I'm pretty sure other Blackmagic cameras can also do it, but I haven't seen anything about 30, 60, or 120. It seems like they only added the option of 24FPS.
Exactly what I was about to mention. I switched to my BMPCC 6K for this exact reason. I hate using my Sony.
I think the Panasonic GH5 can also do 24.0, but not 30.0 or 60.0.
I was going to say this. To be specific, the pocket 4k can do 4k DCI 23.98, 24, 29.97, 30, 59.94, and 60. I'm going to assume the Pocket 6k can too. The GH5 II and GH6 can only do 24p.
@@edb2720 good to know!
most cinema cameras can do it, but anything less than that gives you 29.97
take a 30 fps clip, optical flow and play it at like 12.5% speed, speed it up to 800% using frameblending and u got home made motion blur. the result pedends by the clip
1. the detect-edit portion to apply optical flow might be easier by nesting the individual shots. optical flow is then unable to use visual material of the next shot, which we don't want. this should result in a consistent length as well that syncs with the slowed audio if ever needed. you could also preemptively remove 1 frame at the end of every shot before slowing the shots down, should also work but makes the entire thing shorter like you said.
2. i used twixtor back in the day when optical flow wasn't a thing (in after effects too) and it was really cool for it's time but with optical flow as a native feature i don't think it's worth it. it has pretty much the same issues.
Wouldn't it be great if editing software finally got ther sh* together and *_actually supported_* variable framerate properly?
I dont see any reason at all why you couldn''t just preserve each clip's frame timing all the way to the exported video, let the video player deal with it (which they have been able to do for over a decade at least) and ideally get passed throught to a variable framerate display as well...
15:53 I basically did this for years and still do it sometimes, although it made some parts of my videos look weird for example my phone's rear camera can do 1080p 60 but my selfie camera can only do 1080p 30 so I would just set my timebase to 60 every time if I was using native 60 fps clips or 30 fps clips but as soon as I got a Camera that can do multiple frame rates I generally just stick to 30 now or 24 if I'm doing cinematic style video. I only ever shot at 60 all the time was to always be able to slow down a clip in my videos although nowadays I don't do that as much so back to 30 it is.
a game changer would be a Variable Frame Rate video container, which would also trigger proper display rate at the screen it was played on
If video was invented now this would probably be the way it's done.
While not being a video aficionado per se, I still enjoy being lectured about a problem I didn't even know I had. Great work, Taran!
Pssst. Blackmagic cameras do give very clear and simple options to choose between integer and fractional frame rates... And no. I have not a single clue as to why almost all other manufacturers make it so friggin obtuse to choose frame rates.
I think companies like Arri also exposes those options but I havent used their gear. Though I have heard that one of the reasons Arri is so beloved is because of their menu systems. They just get out if the way.
Canon, Lumix, Sony etc... On their cameras it's like video menus were an afterthought... An afterthought that got machine translated from japanese in the 80s and noone in charge has bothered to do any form of real world UI experience tests as everything you want to set is hidden behind cryptic brand specific jargon and horribly outdated design mentalities. Yeah sure call the menues for still frame capture the "recording" menu... that won't confuse users at all, Panasonic!?
A good practice for variable framerate footage would be to transcode it to an intermediet codec (prores/DNxHQ) or any other codec of your choice that uses fixed framerates.
That would lock audio and video as they are avoiding the sync/ issues you experience editing it natively (without transcode first).
And that's much easier/faster than shift andio every paragraph manually.
119.88fps can be a good way to mix framerates; (23.976 * 5) (29.97 * 4) (59.94 * 2) all work as factors of 119.88. There will be repeat frames, but all footage will play back exactly as each bit was recorded.
@00:37:00 - I have FFMPEG scripts specifically for timelapses. tmix is great for preparing timelapse footage.
Why not just use Twixtor plugin? It's been around for more than two decades and can optically flow the footage's framerate to make it consistent with whatever export framerate is chosen.
@@NUCLEARARMAMENT Sometimes twixtor can work well. As often as not twixtor is worse than mixing framerates without interpolation or mixing to a common framerate. Twixtor can be something to experiment with, but I've not found it useful explicitly for combining framerates in the same project. 119.88 is a fine project framerate when working with multiple source ntsc framerates; the high common framerate means that all source material displays as recorded and irregular frame time issues can be avoided until changing to some lower framerate.
mp4 containers actually can use a variable framerate. It's just that most editing software can't do that and a lot of software isn't expecting it.
You can even put a 60 fps video in a container that says its 30 fps. Premire will retime the clip to 30 fps while vlc will play it at 60 fps while telling you it's 30 fps.
Just in case you want to want to manipulate video metadata at some point ;)
1:18:16 Blackmagic cameras allow you to do that!
Specifically my BMPCC 4K (great camera).
You can choose the framerate freely between 23.976, 24, 25, 29.97, 30, 50 and 59.94.
Taran is a gift from the Editing Gods.
I'm here feeding the algorithm. Love you Taran
On the note of pros getting this wrong, a lot of Universal 4K Blu-ray’s of catalog titles have extras in 23.976 even though they were originally in 60i. Looks like garbage.
I once made a video with 30 & 60 FPS footage and exported to 60 FPS, but came out looking like 30 FPS. It drove me crazy and I never figured out why it came out like that.
I recently purchased Topaz Video AI and the tool I use the most is the framerate conversion; so far I couldn't see any artifacts.
It's very useful, especially when mixing stock footage.
1:18:28 Since you asked! The black Magic Pocket Cameras do, and in turn I believe all of the black magic cameras do.
Trying to compete with RED and ARRI they share a lot of the same firmware features like manually entering in the framerate you want. So all modern RED ARRI, and black magic cameras do.
This may be old news to you now since this video is a year old, but I'm enjoying comenting 😂
Wow. This video auto played for me and THANK YOU so very much for SLOWING down to a pace I can understand! I like Gerald Undone but absolutely cannot keep up with him. It's like he's drank 10 espresso shots. Haha.
very well researched video, almost feel guilty mentioning that Vegas hasn't been "Sony" Vegas for at least 6 years now but you did ask for a comment so... :)
The key takeaway from Matt Smith’s video is that 59.94 and 29.97 etc. aren’t exact anyway because they’re actually (1000/1001)*60 and (1000/1001)*30 etc., respectively. So to fix timing issues mathematically in AE, adding “(1000/1001)” or “(1001/1000)” to your AE scripts should fix the smearing & other related issues.
would be nice if the world of video, editing, transport, hosting, the whole stack, would embrace and support VFR better. the only real alternative for using VFR to have your video suddenly change from 30 to 24 and back is to have a bonkers 120fps timebase to accomidate 30, 60, 24. and even then you don't have 25 for pal TV, you have to go up to 600 to get all four of the common integer FPSes
I will watch this video at 0.25 speed so I can justify this monthly waiting
It still bothers me that 23.976 specifically exists -- 29.97 and 59.94 I can understand from a historical NTSC perspective.
But broadcasting footage shot at 24 OR 23.976 fps will *always* result in some sort of stutter or judder, because of 3:2 pulldown. So I have no god damn idea who thought that it was necessary in any meaningful way for 23.976 to even exist if it has to be pulldown'd anyway.
Neither fractional nor whole-number 24FPS fits neatly into 60 or 59.94, so why the hell does it exist??
Maddening.
Great video Taran, I learned a lot, and I actually got some inspiration thinking about the optical flow effect in premiere. I feel it could be intentionally used as a low-budget sci-fi energy effect, like to emphasize some sort of energy field.
"So, is it possible to keep the footage playing at 100% speed AND not have stuttering?
Me" *looks at video length*
The best part of fractional frame rates is that 23.976, 24.97, and 49.94 should not exist. 29.97 exists so *NTSC* was compatible with both BW and color. PAL just dropped support for BW altogether, and the other necessities for PAL color were made with the hindsight of NTSC's 29.97 mess in mind.
Does the RED calculator give different calculations based on resolution because RED sensors crop in on the sensor when recording in anything but their native resolution and therefore change the frame size? Some cameras just downscale when jumping from say 4k to 1080, but RED will crop the sensor to fit the resolution. Maybe this is why jutter is effected by resolution?
What would interest me is, how US and European TV signals make the same live footage look smooth, even tho its different frame rates. So for example, US Sports are produced in 60FPS, but look perfectly smooth on European TV, that works with 50FPS. Or the other way around, most international sporting events are produced in 50FPS, like Formula1 and the FIFA World Cup, still they look perfectly smooth on US TV. How's that transformation from 60 to 50 and 50 to 60 done?
This was a very engaging video for the entire one and a half hours. Well done scripting Taran. 👍
I'd be very thankful if someone could help me out with my problem :O
So I'm editing in DaVinci Resolve 17 and I have a problem with speeding up my footage. Basically, my footage is shot at 50fps so I have an option to slow it down, but usually I just leave it to play back at 100% on my 25fps timeline. The problem is when I speed up some clips to 800% (I use them for transition purposes) I get a lot of footage lost, a bunch of skipped frames in stead of a very fast fluid video. But when I edit the same way on my iPhone within InShot I get much smoother clips that are pretty much 800% sped up as well.
Had to do a film restoration job with the video on 24fps film negatives and the audio on 30fps stereo betamax tapes. Had to scan the tapes five times over with offset TC starts to get the exact audio sync for the film, then Avid decided to f around with 23.976 and 24 in the middle of all that. 3:2 pulldown is the bane of my existence.
Fujifilm cameras can distinguish between shooting a fractional 23.98 and true 24 fps. Unfortunately they only offer fractional 29.97/59.94 fps but are upfront about it in the menu settings at least.
as soon as you said "Tween", I had flashbacks (no pun intended) to using Macromedia Flash in the early 2000s 🤣🤣
Too bad RUclips doesn't support 240fps...
24, 30, 48, 60, and 120 can all go into it evenly
As per usual, Taran pulling out all the stops to release an A+ edited video educating the masses on something they should know, for the low-low cost of $0.
Here in the UK all our movies that were shot at 24.00fps were & still are speed up to 25fps transmitted at 50i. For many years without audio pitch correction. Wasn't till we got blue-ray media I picked up on actors voices sounding lower pitch to what was aired.
Ironically for the content of this video, the "Film mode" on his TV at 1:13:55 is supposed to detect when 24fps content is being played with repeated frames and play it correctly at 24fps (well, actually displaying repeated frames at the 120/240fps refresh rate of the panel and having it evenly divide to 24fps).
Can u please Tell us what it's happening when u use field options flicker removal,
I worked in the past at a TV Station with editing in SD PAL and when I put NTSC video I always use fliker removal because on CRT tunele television looked really awfull.
Thank u Taran I learned a lot from u!
Davinci Resolve ultimate guide:
1. Slap optical flow on it
2. Done
Framerates and Tanks, my favourite two topics
54:00 I think you use the wrong "ai" interpolator. There is a free software called "Flowframes" which includes real ai interpolators and has a very good result in interpolating
How can this be free? We need more of this content. At my age i can choose gear or extra Knowledge. (I am allround video student, school is sort of free in NL) i respect this content to be free
the ai interpolator that Topaz uses has an option to detect repeated frames (number to trigger can be adjusted) and replace them with newly interpolated frames.
Not sur about the stutter. I guess you can throw the stabilizer at it and hope for the best.
Who knows, where that leads. Presumably to the point where it is good enough to not bother with manual fixes anymore. Unless they are well paid for.
Great video as always, I've learned so much from you
NGL Taran, I didn't think I'd watch the whole video but your presentation was super engaging! Also, the arri Alexa minis we use at work do have true 24/30/60, but we still shoot dropframe for whatever reason lol
Thanks for this man. Super informative. I might be more confused now than I was before on one thing: I too shoot Sony, but at 24 (I MEAN 23.976). My timeline automatically sets an intermediate timebase of 29.97 Non-drop. Would I be better off filming at 30 (BY THIS, SONY MEANS 29.97) or changing my intermediate to 24 (I MEAN 23.976)?
I had a weird thing where I changed the intermediate mid-way through an edit to smooth out a graphic or something and it shifted audio sync on every clip after that was time stretched and it was suuuuper fucking annoying.
23.976fps and 23.976fps Drop frame timecode is the industry standard for films and TV shows. So I would say it's best for them to match for professional applications, unless you're mixing framerates in which case I have no clue. However, if you're uploading to RUclips where 30fps could be considered OK because you are working by your own standards, you might as well film at 30. It looks smoother anyway.
@@embismusic yes, uploading to yt and mixing framerates. 24 A-roll and 60 or 120 for my B-cam in multicam sequences. Seems like 30 might be the right choice for A-cam and my intermediate timebase.
This video is going to be used as homework for college students learning film.
hate button for fractional framerates
You missed to explain about variable framerate videos!😂😂
imagine putting in all this effort to make individual frames this look correct then i watch the video at 3.1x speed
hey taran, been 2 months since the last upload and i know that's on brand for the channel in terms of schedule.
but i just wanted to drop by to wish yah a very late happy new ear and christmas.
The amount of tips that are just how to overcome Adobe’s stupid mistakes. 😂
A single frame rate timeline seems like a holdover from film days. VRR timelines would fix this, yes?
Apparently iPhone (as many creators actually use semi professionally) record in true 24/30/60 FPS, however in a variable framerate so for all intents and purposes that may be just worse BUT perhaps you know better what is the case here, nevertheless if iPhone choose to stick to true framerates perhaps that is the future for the rest of the pro gear?
30:00 no you're lying its not been 30 mins.... holy shit it has. I must be absorbed in your great video!
@1:03:14 My thought about RED's calculator is that RED's different resolutions are all cropping in on the sensor, so they're kind of NOT the same focal length. This is one of my biggest, aside from them using cheap Chinese parts, reasons I haven't bought a RED.
I am disappointed that al lot of the nuances in dealing with mismatched footage are due to bugs and inconsistencies in the software.
Holy cow! This was an awesome video! Answered literally every question I could ever have thought of regarding this topic. Tryin to cram 25fps footage into the same timeline with 23,968 fps footage. Still wondering what the best option is.
did you find a solution?
About monitor framerates: when watching ANYTHING on a computer with a single monitor, EVERYTHING gets displayed at the framerate the video graphics chip is set to. This includes what you're watching in Premiere or any other NLE. TVs may be able to adapt to the signal coming from a Blu-Ray player, game console, or camera, but when the computer says the monitor shall run at 60 FPS, this applies to all applications running on that desktop. This MAY be overridden when watching video on a second monitor in full screen mode, but if you're using a single screen, your NLE is resampling (and stuttering) your 23.976, 24, 25, 29.97, 30, 50, 59.94, or 60 FPS timeline to whatever your monitor is set to.
I feel like I should be paying money for tutorials this good.
How about when shooting S&Q with, for example Sony FX6, capable of 120fps @ UHD, and setting project fr at 50 or 25 (EU/Finland, TV standard), the camera already slows down the footage to 50fps, how does it do it and should I use 100fps instead? I haven't yet had a closer look at the footage (just media player quick looks while transferring fron card to T5 ssd)
hey! curious what settings have you landed upon? i am from estonia and i am trying to figure out what to stick for the future. So long have been filming pal in pal countries and ntsc in usa etc, but having to constantly deal with mixed framerate projects. want to choose one - either pal or ntsc once and for all and stick with it. for flicker would make sense to choose PAL (as living in Europe), but for more fps for slomo would like to choose NTSC.
Interpolating the audio and just running the clip a little faster/slower is probably the best way to deal with small differences in frame rate. It's what they did to put movies out in PAL regions before TVs could run at anything but the local analog TV frame rates.
As for variable refresh rate thing, even on fixed refresh rate monitors, you can choose different refresh rate if the monitor supports it. So when I watch a 24 FPS video on youtube, I just switch desktop to 48Hz and 50Hz for 25 and 50 FPS videos and so on.
To not go through the headache of going to display settings every time, I just use Hotkey resolution Changer and change the refresh rates using keyboard shortcuts.
I fucking loved this video. I've been a video editor for 8 years and could definitely get kind of sloppy when it comes to framerate. For whatever reason, I have a really hard time seeing motion stutter. It's just something my brain doesn't pick up on. I've known a lot of the rules Taran laid out on principal but it was eye opening to see the real world impact those principals have and the math behind them.
Thank you, again!
(Also, Taran, it seems you've been doing more and more freelance work for other RUclips channels... Have you picked up any broadcast work? I know 29.97 is a clumsy standard but it's far more important in that atmosphere than it is in the world of digital.)
Did I miss any discussion of telecine? It was common for TV content shot on 35mm film, in 23.976 fps, to be telecined (3:2, for example) for broadcast over 29.97 fps or NTSC DVDs on 29.97 fps. It was a good enough solution in the old days of CRTs without perceptible stutter. A lot of this video’s discussion seems to be focused on progressive video for Internet distribution.
Well, that is his career.
Hey Taran. Thanks again for the great detailed video! I have a question if you don’t mind… again. 😂 how come if you speed up the footage in premier the pitch changes, but if I speed your video in YT 2x the pitch remains the same. Just the video moves faster… 🤔🤔. From a deeply confuse wannabe video editor I am thankful. Have a great rest if your day.
Because on RUclips, it's automatically pitch-shifted back to where it started. But, naturally, audio does get higher pitched when you squish it.
Ayyyyyyyyyy
vegas moment
13:47 You could automate this by dumping the frames, find and delete duplicates and then add the frames back together
Also white text on a pink background (1:00) is somewhat hard to read (for me at least)
55:30 I think if you are recording something at night, recording in 30 fps to get brighter frames and then interpolating to 60fps could actually look better than recording at 60 yourself.
Or just set the shutter speed to half...
Wow, Taran uploaded, a rare but very welcome occurrence!
You can't imagine how much usefull is this video for me, i'm working at a company conforming timelines and sometimes we have issues with archive material, now i know how to do it better. I really love this video, and apreciate your time to do it! Thank you for this!
I'm not a video editor, but I found the topic so fascinating, it really brings into perspective the titanic work that goes into crafting video.
Eww Adobe.
Sorry it's instinct at this point