Usually 24fps is not a delivery spec for the US market if I remember correctly. What do you do to get it to 23.976?
Far as I know, you really have two ways of accomplishing this. If you need the documentary to time for broadcast - as in, it needs to be 30 min exactly - then you can take a hard commit of the 24fps timeline and marry it to the audio in a 23.976 timeline. You’ll need to apply a timewarp to the picture, and click the % dropdown and apply a 100.1% timewarp to picture. If I convert this way, I typically go through and find the drop frames and move those to be less noticeable (on a cut point for example). However, I mostly work in marketing and that could be tedious if it’s a long form doc . You could just let it play with the frame drop as is. That’s really to taste IMO.
Another option, is to copy the 24fps hard commit into the 23.976 timeline as above, but instead of applying a timewarp to make it 23.976, just let the picture run frame for frame, and either covert the audio with a timewarp, or have the mixer provide you with one to cut in. Because the frames have not been removed, your program will run long but if that’s a problem, the first method is your only solution to my knowledge, unless…
You have a terranex/machine room that you can lay it off to tape and have it converted there. But I feel like that hasn’t been the workflow in many years now.
Hope that helps.
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Different venues have different specs. US tv is still 59.94i with 29.97 timecode. Most web venues will take frame rates up to 29.97; this means 24 is fine. Some folks want 29.97 progressive. Others want 30 fps progressive. It’s important to pin down exactly what is needed since the path to get there way vary.
True. Unfortunately this is one of those projects looking for a home (venue). So it will be difficult to pin down deliveries until that happens.
I’ll probably wind up converting TC and adjusting audio for a 23.976 pass, if need be.
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It does, thanks.