1080 @ 50p/60p footage duplicating every other frame in preview

Community Beginner ,
Jun 05, 2018 Jun 05, 2018

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Hi as per the title this issue has been driving me nuts for days.

I am unable to turn my 60p or 50p footage down to smooth 30fps or 25fps.  The footage has been captured using a 1DX Mark ii via HDMI out to an Atomos Assassin using the camera's 4K 50p (or 60p) setting.  This then outputs to the external recorder at down-sampled 1080 50p or 60p.

As soon as I import those MP4 files (apple prores 422 HQ) into premiere pro and move forward frame by frame in the preview window (top left window) the image will move a frame, then duplicate a frame, then move a frame etc.  This is all whilst still not having interpreted the footage to a slower frame rate.  So with the footage still at 60p or 50p that is what's happening.

Then, once I interpret the footage to 30fps of 25 fps and drop it into a 30fps or 25fps timeline (respectively to match the footage), the footage is choppy, rather than buttery smooth slow motion.

Am I doing something wrong?

I have trawled the internet and forums for a fix to this and I have already tried the following without success:

1) Selecting audio input in audio hardware to NONE; and

2) messing around with slowing 50fps or 60 fps footage by 50 percent then using optical flow.  The warping artefacts caused by optical flow are not acceptable for my commercial work.

What I really need is to work out how to turn this 60 or 50p footage into smooth slow motion.

I am also having an issue where 60p and 50p footage is playing back too fast in preview.

Thanks in advance.

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correct answers 1 Correct Answer

Community Beginner , Jun 05, 2018 Jun 05, 2018
Thanks for your input Jeff. 1080p footage out of the 1DXii is not anywhere near the quality of the 1DC or 4K mode of the 1DXii itself. Even though the 1DXii doesn't output 4K over hdmi, the 1080 is oversampled when the camera is set to 4K mode and the output to the assassin is much better than regular internally recorded native 1080 (i.e. camera set to 1080 and recording to a CFast 2.0 or CF).Unfortunately, I think you are right re the problem being at the assassin/codec end of things which will...

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Adobe Community Professional ,
Jun 05, 2018 Jun 05, 2018

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Could you post a screenshot from MediaInfo showing the details of your footage.

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Community Beginner ,
Jun 05, 2018 Jun 05, 2018

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mediainfo screenshot.PNG

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Community Beginner ,
Jun 05, 2018 Jun 05, 2018

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Also it says overall bit rate mode is "variable".

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Community Beginner ,
Jun 05, 2018 Jun 05, 2018

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mediainfo screen 2.PNG

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Adobe Community Professional ,
Jun 05, 2018 Jun 05, 2018

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What specific dot version of premiere?

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Community Beginner ,
Jun 05, 2018 Jun 05, 2018

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Version 12.1.1 (Build 10).

I have spent 2 hours and 10 minutes on the phone to adobe technical support today.  They were very helpful in trying to rule out issues at the premiere end.  We now think that it may have to do with the atomos assassin.  We tried changing from pro res 422hq to AVID DNxHD but the issue with every other frame being duplicated persisted.  This issue does not exist when importing 4K 60 or 50 fps MJPEG footage from a CFast 2.0 card (internally recorded), nor does it exist with 120 fps of 100 fps footage from an internally recorded card.

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Most Valuable Participant ,
Jun 05, 2018 Jun 05, 2018

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Doesn't seem like a Premiere issue to me, rather the signal is getting messed up at the recording stage in Atomos. As if the source is 25p, but being recorded as 50p, thus the doubled frames.

This could be verified by removing Premiere from the equation - play back the footage in another app, like VLC for instance or QT Player and see if frames are also duplicated there.

And if your intention is to capture and edit 1080p50, then why is camera set to 4k? Perhaps you want that for a backup or something, but seems to me that perhaps the conversion of output at camera could be part of the issue?

Thanks

Jeff

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Community Beginner ,
Jun 05, 2018 Jun 05, 2018

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Thanks for your input Jeff. 1080p footage out of the 1DXii is not anywhere near the quality of the 1DC or 4K mode of the 1DXii itself. Even though the 1DXii doesn't output 4K over hdmi, the 1080 is oversampled when the camera is set to 4K mode and the output to the assassin is much better than regular internally recorded native 1080 (i.e. camera set to 1080 and recording to a CFast 2.0 or CF).

Unfortunately, I think you are right re the problem being at the assassin/codec end of things which will mean a return to CFast 2.0 cards for me for 60/50 fps slow motion stuff. *cries at huge file sizes from 4K MJPEG*

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Adobe Community Professional ,
Jun 05, 2018 Jun 05, 2018

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https://forums.adobe.com/people/CP+Imagined  wrote

Also it says overall bit rate mode is "variable".

That is not relevant.  If it were variable frame rate, it might matter.

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New Here ,
Sep 16, 2019 Sep 16, 2019

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I Recently ran into the same issue with an Atomos Ninja Assassin. Everything I shot with the Atomos was essentially a 25 fps shot "packaged" in a 50 fps file, hence every second frame being doubled. I also shot internally for some shots leaving me with some footage appearing as 25 and some as 50. Long story short, with premiere being able to have multiple frame rates in the same sequence I could edit both together without any problems (other than having to double tap the frame forward key) and when I exported at 25 fps It would remove every second frame from the 50fps footage and not the 25fps footage essentially leveling everything back to 25fps. Hope this type of workflow could help you. Also if there is a flaw I'm not seeing to this method feel free to point it out 🙂 

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New Here ,
Mar 24, 2021 Mar 24, 2021

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I ran in to this with the A7sii. I shot everything at 60fps, yet interpreting footage back to 24 or 30fps just gave me duplicate frames instead of true slow motion. It is because of the shutter speed: anything shot below 1/60th renders the footage with duplicate frames. Tested it later with the A7sii. It is Sony's fault.

I just moved to this NTSC region, and I guess my shutter was at 1/50th, what I am used to from the PAL world, so big hassle, big lesson.

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