Interpreting 59.94 as 23.976 - Timeline Retime verses Clip interpretation - BEST PRACTICES

[filmsproket]

My camera op likes to cut 59.94 clips into a 23.976 sequence and retime the clip in the timeline to slow it down.  As an editor, I prefer to actually interpret the clip at 23.976, so that I can see the motion of the clip in the source window before deciding to cut it into the timeline. This works faster for me.  

What is the best practice?  Timeline retime or clip interpretation to slow down 59.94 footage in a 23.976 sequence?

The one issue I run into interpreting 59.94 clips at 23.976, is that the camera created proxies are still at 59.94.  Anyone have any ideas how to fix that, or do I just have to create new proxies at 23.976?

[Remote Index]

Hello filmsproket,

There are advantages and disadvantages to using speed ("timeline retime") vs. interpret footage.

Using the Interpret Footage command changes how a file is interpreted throughout a project.

link (under Change the frame rate of clips) 

But this comes with a big caveat: the Interpret Footage functions are not compatible with using Premiere Pro's built-in proxy workflow. "Doing so will result in unexpected behavior."

If you are using the "built-in" proxy workflow and using Premire Pro to connect proxies as well as original footage, then you should not use the Interpret Footage function at all.

If you are generating proxies outside of Premiere Pro and not using the built-in functions to connect both proxies and original footage (ie. if you are doing a more traditional offline/online workflow) then you can use the Interpret Footage functions.

I've written about limitations to proxy workflow here.

You can read more in the "Workflow Guide for Long Form and Episodic Post Production” (dated 2022) states on page 55 here :

"If your workflow relies on modifying the source clips using any of the following commands [Modify Audio Channels, Interpret Footage, Modify Timecode, Modify Captions], do not use proxies in Premiere Pro. Doing so will result in unexpected behavior."

Personally I recommend using the "Interpret Footage" version if you can (subject to the above important caveat) because I trust it more for frame for frame interpreatation (ie. not duplicating or dropping any frames). But that's not been confirmed by any empirical evidence, it's just a personal preference based on how I am interpreting the software.

Edit:

Also, filmsproket, you seem to imply in your post that you are unaware you can change the speed of clips at the project level / in the project pane, which might be a consideration for you.

"You can apply Speed/Duration changes at the Project clip level or at the Sequence clip level. Changes made at the project level are respected when adding new instances into a sequence."

Link 

R.

[filmsproket]

Okay.  So, I guess either way is ultimately acceptable, but I would have to create my own proxies if I want to interpret my footage at 23.976, which is what I'm currently doing.  I guess when my client's workflow forces me to used the camera proxies, I'll be stuck using time remapping in the timeline to slowdown all my clips, which I'm not excited about.  Thanks for the feedback and opinions!

[Remote Index]

Hi filmsproket,

"I would have to create my own proxies if I want to interpret my footage"

Just to be clear, if you're using Interpret Footage, Adobe does not support the use of what they call “Proxies inside Premier Pro” workflow (ie. attaching proxies). Regardless of how you create them, you have to work with proxies as clips (not "attached" to original footage) and then relink to originals later.

R.

[filmsproket]

Weird.  I've been working this way for years.  I import RAW footage, I interpret the 59.94 footage as 23.976, then I export that 23.976 interpreted footage through Media Encoder and creat lores proxies at 23.976.  Then I attached those newly created lores proxies to the RAW footage clips in Premiere as proxies.  It's worked for the last five years or so.  Does Adobe just not recommend that workflow?

[Remote Index]

You can read more in the "Workflow Guide for Long Form and Episodic Post Production” (dated 2022) states on page 55 here :

"If your workflow relies on modifying the source clips using any of the following commands [Modify Audio Channels, Interpret Footage, Modify Timecode, Modify Captions], do not use proxies in Premiere Pro. Doing so will result in unexpected behavior."

R.

[filmsproket]

Thanks for the reference! They don't get super in depth with it, so I wonder if they're just warning against connect 59.94 proxies to clips that are being interpreted at 23.976, because that definitely results in out of sync clips. The Adobe workflow seems to want you to make proxies on ingest, so 59.94 footage would have to make 59.94 proxies with that workflow.  Know what I mean? I do understand that creating these 23.976 proxies and working with them in a project and then trying to connect back to the 59.94 raw footage would be a disaster, but I don't work that way.

I wish Adobe wrote more about it.

[Remote Index]

filmsproket,

"I wish Adobe wrote more about it."

I've written about the lack of communication from Adobe and its negative effect on users in many posts, and about this specific issue here and asked for clarity and an update from Adobe.

Upvoting might help. Posting might help. One can hope, anyway.

R.

[filmsproket]

THANKS!  Upvoted!

[Ann Bens]

Just look at the tools they are designed for to do.

Interpret footage is designed for footage that Premiere does not interpret correctly.

Slowing footage down is done with Speed/Duration or timeremapping.

No where in the manual you will find a workflow describing interprete footage used for slomo.

Someone happened to come up with that idea....

[Remote Index]

Ann Bens,

The manual link which I posted gives two ways to change the speed of a clip:

You can use the Interpret Footage command to change the frame rate that Premiere Pro assumes for a clip. ... Changing the frame rate changes the original duration proportionally. ... You can also change clip speed and duration by choosing the Clip > Speed/Duration

The original poster is aware of both methods, had a preference for one (with stated reasons) and asked for guidance on best practices.

I responded with information backed up with documented references, and an additional personal opinion.

R.