best practices for working with a multicamera shoot with 2 cameras shooting 23.976 fp and one 24 fps

[Michael Grenadier]

Any suggestions?   Could convert the 24fps shot to 23.976 with optical flow... that seems like the most foolproof way...    

Figure someone here might have worked with this situation before.  Needless to say, I had no control over the third camera.  I'm just grateful that the venue gave me the material..

[R Neil Haugen]

Sometimes the optical flow works. You might for this try the "Interpret Footage" process, as that is the one part of Premiere designed to change cadences between frame speed settings.

Neil

[Michael Grenadier]

Won't the interpret footage workflow change the timing slightly

[R Neil Haugen]

Anything might change timing slightly ... or add/remove a frame or two or modify it ... I've stood there for long discussions on how to change clips to fit a project. Intense, and basically, I think my end understanding is you may need to try several approaches if the first thing you try doesn't look ... right, somehow.

Quite often just doing what Yanna suggests works as good as anything. Sometimes, it doesn't quite look or sound right. I know of colorists rebuilding timing in sections because they caught some very slight blip/glitch that they couldn't fix really well. The editor didn't catch it, or if they knew about it, thought it not notable.

But the colorist sitting there with client in the room watching a big screen ... "um, what's happening there?" ... and gets to try their time management skills. Such a joy.

Neil

[Michael Grenadier]

just thinking about issues with multicamera sequences and thinking that always good to try and nail these things down before you dig yourself too deep a hole.   Things may be working smoothly but down the road, it can blow up in your face...   Just dropped the 24fps clip into a 23.976 timeline, set the frame interpolation to optical flow and exported it...  This is a panel discussion with 3 speakers each standing at a podium one after the other for about an hour so the timing discrepancy could mount up...  and thinking Premiere's gonna choke on trying to synch the 24fps material to the 23.976 fps material.  Will report back if I see any issues with the 23.976 export...

[R Neil Haugen]

Thanks for testing that, Michael ... as yea, digging yourself out after the fact is not always fun nor profitable.

Neil

[YANNA26705213grl5]

my opinion ( and i only work on short form stuff and no broadcast stuff ) is that 23.976 rounded off is 24. the math is simple. 23.976 is basically the same as 24.

You are maybe over thinking it... that it will matter with timing and synch or whatever... IMO.

Just make the project 23976 since two cameras used that ) and drop the 24 into it and keep working. good luck

happy thanksgiving

[Michael Grenadier]

the difference between 24p and 24 fps will definitely cause synch drift over a relatively lengthy duration...  And it may cause issues if you're using the audio to synch up the different cameras...  guessing probably noticeable within 5 minutes or less...  I've bit the bullet and converting the 24fps material to 23.976 fps by dropping the camera original into a 23.976 timeline and then exporting.  Won't be extensively using the 24fps material in the edit so if I see any issues caused by the retiming in the export, I can always use the camera original but reinterpret to 24p using the modify command as Neil suggested to replace the relatively short duration clips within the edit.   Could spend a couple of days testing all the possible workflows, but this seems the most expedient option.