How mismatched framerates are ruining your videos - Mixing Framerates Ultimate Guide

[@Recessio]

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]

Technically correct... the best kind of correct!

[@tharealmb]

I just know Taran did the math before he replied ;-)

[@HenryLoenwind]

@@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.

[@DimkaTsv]

@@HenryLoenwind But wouldn't it take much more time to compute on other hand, though?

[@orbik_fin]

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.

[@bird9188]

I don't even edit videos or do anything like this I just enjoy watching Taran talk about anything

[@chub5cout]

Sames!!! I just like to hear the dude talk.

[@lync8432]

That's why I'm here lmao

[@KittyKatKya]

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.

[@hydra4370]

@@KittyKatKya creechoor

[@TaranVH]

Some people use them to fall asleep!!

[@AdelmanLucas]

new bible just dropped

[@FunctionGermany]

fax

[@JohnPaulBuce]

based god

[@threesixtydegreeorbits2047]

This is like Book of Mormon while the ffmpeg fertility ivory effigies are just lying here.

[@namewarvergeben]

Taran van Hemel (Taran from Heaven)

[@OLBastholm]

Bible 2.0 let's gooo!!!

[@chipio]

I feel like I should be paying money for tutorials this good.

[@shutterphotos8536]

I agree.

[@AxisAngles]

Found you.

[@Aragubas]

same

[@TheGokki]

You are, by watching the ads.

[@CmdrTigerKing]

your paying with your soul

[@YourMJK]

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.

[@lancehoward3990]

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.

[@lstrk4390]

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.

[@MLGaeming]

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.

[@airplaneian]

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.

[@pcislocked]

@@flintgrain rude

[@lePuru]

@@pcislocked don't even bother man, bro thinks he's him

[@yobido]

Never was and never will be a video editor, but this video is packaged so well, I enjoyed every 2nd frame of it.

[@otter-pro]

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.

[@albangaval]

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!

[@Notelu]

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.

[@Atsolok]

Finally, someone who doesn't skip essential subjects and teaches you the whole package

[@josuelservin]

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.

[@sjcproductionsandmedia]

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.

[@peasantscouch]

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 😂

[@cookechris28]

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.

[@shalevhaham]

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.

[@ChrisGeden]

Exactly what I was about to mention. I switched to my BMPCC 6K for this exact reason. I hate using my Sony.

[@StefanGrace]

I think the Panasonic GH5 can also do 24.0, but not 30.0 or 60.0.

[@edb2720]

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.

[@shalevhaham]

@@edb2720 good to know!

[@TwatMcGee]

most cinema cameras can do it, but anything less than that gives you 29.97

[@hellomistershifty]

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).

[@tverdyznaqs]

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

[@gordonschuecker]

I had to laugh so hard at this comment! Same here! 🤣🤣🤣🤣

[@JayMo183]

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.

[@bryangarrett226]

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.

[@JakWai01]

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!

[@sergyorock33]

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!

[@Mr.C0ffee]

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

[@AddlerMartin]

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!_

[@ALbino998]

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!

[@MrHeksas]

Taran is a gift from the Editing Gods.

[@glebrao]

Dude, this is the most detailed video about this topic on KZbin, BY FAR!

[@UnPuntoCircular]

I'm here feeding the algorithm. Love you Taran

[@gavsmith1980]

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... :)

[@sfields6903]

I realize this video is old but I really appreciate all the work that went into it to describe the frame rate situation. It was always confusing to me.... I am a hobbyist videographer but really enjoy the editing process. I use a little known somewhat inexpensive editor by Wondershare called Filmora. In the past few years they have added a ton of AI tools what are pretty darn good. I tried the interpolation on it and Im no expert but it really did a great job of smoothing out the removed frames. Thanks for the great info!!!!

[@skymakai]

@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.

[@wompastompa3692]

9:24 I believe you mean "less in the past Taran." 13:24 Same here. 28:22 Instead of comma and period, I remember it as < and > because they point in the direction that you're seeking. 1:13:50 Again, "less in the past Taran."

[@TheMineCraftWorldPL]

I liked the video almost immediately, the amount of work that has been put into making this video is absolutely insane. There is so much information packed in there, with examples explained in great detail. This video is invaluable source of information. I watched the entirety of it and enjoyed every single bit of it. The balance of theory and practical applications was on point, it was entertaining enough to watch and learn at the same time. Kudos to you, your work is greatly appreciated. This is the type of video I didn't know I needed to watch, but I am glad I did. I am fairly green in editing environment and had some work done that looked wrong, mostly due to mismatched frame rates before and I even had no idea what could be an issue there, or how to work around solving these issues, since I couldn't find the roots of the problem before. The delayed sound issue I encountered on multiple occasions too. This was very enlightening video to me and I believe to many others as well.

[@Innuya]

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

[@a3mill643]

HAHAHAHA, the apple impersonation was so good.

[@shutterphotos8536]

Wow! Very educational video, I watched the entire video and learnt so much. One of the best free tutorials on the internet. Thanks!

[@onstreetcamera]

A very useful video for a newbie, but maybe for some experienced videomaker too. There is a lot of information explained in a clear way. Probably the longest video I ever watched on KZbin, and I will watch it again. Thank you. 👍

[@djjudd566]

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.

[@wright96d]

Beat me to it

[@embismusic]

One of the most entertaining and engaging videos I have ever seen, I'm not even kidding. Please make more!

[@marcopfeiffer3032]

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 ;)

[@leerdoor]

Excellent explanation. Was wondering for a long time where those stutters came from. Thanks.

[@arisandra]

Framerates and Tanks, my favourite two topics

[@Welshmanshots]

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.

[@FunctionGermany]

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.

[@CoolJosh3k]

I have VRR support, but don’t use it because the inconsistencies when my FPS drops below my Hz is horrendous while competitive gaming.

[@ian678_]

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)

[@jippalippa]

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.

[@Lam]

Great video as always, I've learned so much from you

[@tharealmb]

I know you ment this to be a short video about 24p/30p/60p but i'm happy you went above and beyond. Because i knew about that from countless other videos. But all the other stuff is something i'd only find on your channel. Thanks a bunch!

[@eljestLiv]

Pro tip for finding duplicated frames like you’re talking about at 13:50 Duplicate the original clip, put it one frame later and with a difference blending mode. If a frame is black, it’s a repeated frame.

[@TaoCovillault]

First time I bump into your content and that was a very lenghty and in depth video xD But incredibly well-made 🤩 In one sentence: My brain is melting, I loved every second of it 🤣

[@ryanmcentire5704]

1:18:28 Blackmagic cameras allow you to record at either the fractional frame rate or the whole frame rate for 24, 30, and 60 fps.

[@12oto12]

Every time I think I know a lot about editing, I just watch another from you, and all my pride gets crushed down to a more humbled place 😂 (thanks for taking the time, I always learn so much)

[@BrightBlueJim]

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.

[@RampantLeaf]

I don't even edit videos too often, but I watched the whole thing. You're really good at explaining and visualizing things in a captivating way.

[@sonyp180]

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.

[@embismusic]

This video is a MASTERPIECE! Super helpful and I feel like my pain is finally being understood! Spread awareness!

[@ConexaoEdenProducoes]

Don't even know what to write here after this 1h30 doc on framerates. I don't even imagine the work u've put into this man, but it made my life so easier. My intelligence level just grew some points i think kkkk Thanks4sharing, I'll download your sponsor's game in sake of this video. I'll be sure to watch all ur content. again, thanks a lot!

[@buffaloxp]

I'm going to be coming back to this video for years to come. This is great information for editors. Thank you, Taran.

[@pacificatoris9307]

There's so much stuff I didn't know I didn't know. Probably need to watch this like ten times to fully understand this stuff.

[@Guill0rtiz]

Thank you for quickly covering the very basics of EVERYTHING you’re explaining. There are many things you don’t usually learn anywhere else.

[@platinum_vault]

I am about to edit my first video with clips in different frame rates (mostly talking) and I was terrified. Parts of this video helped me to understand the basics and now I don’t feel as lost as before. Thank you.

[@Guill0rtiz]

Taran, you never cease to amaze and teach me something new. It was from you that I learned to use 7+tt just to display the seconds on the taskbar and the importance of 16:10 monitors. Now I see that you used fake folders just to have “groups” in the list of folders on the file explorer (as seen at 7:37). Damn! ********** I hope to one day be half as productive as you are. **********

[@cmcomic]

Thank you so much, Taran, for the incredibly helpful tutorial on frame rates! Your clear explanations and step-by-step guidance have made a significant difference for me. I've watched this video multiple times, and each time I come away with a better understanding. Your dedication to creating informative content is truly appreciated. Keep up the fantastic work! ❤

[@mostidum]

Thank you Taran! I was just the other day thinking about matching frame rates and understanding them deeper. When I saw this video i got so hyped! Appreciate all your wisdom! 🙏🏾

[@raidwerks]

i edit videos very rarely and was aware of that framerate stuff... but that deep dive is great, so much new knowledge! and thank god i understand what you telling

[@Xenoray1]

i dont understand anything about it but im sure its pretty important stuff for ya and helping out those who need it, so great video!

[@abbenay2300]

The answer to all the (very valid and awful) frustration in the last ten mins is just... use PAL. This (plus metric) makes me so glad I live and work in the UK. Amazing vid btw.

[@marcofazio1318]

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.

[@ezeekwheel]

thank. this helps a lot. mainly the fractional frame rate. Also explains why I couldn't mix some gopro footage at 29.97fps and camera at 50fps, had a feeling it was to do with that after a lot of frustration but now makes a lot more sense

[@notproplayer3649]

Wow, Taran uploaded, a rare but very welcome occurrence!

[@Xnoob545]

1:17:26 we still have crts at home and use them. They're the only tvs we have. The only two issues i have are: 1. The resolution is quite low (obviously) 2. There seems to be no way to adjust brightness (or at least easily adjust it) Everything else is fine.

[@remsalt3882]

holy shit taran! first video im seeing after ltt. so proud of you man!! amazing video.

[@patemathic]

Despite the comments memeing about the duration and level of depth of this video, thank you for providing valuable in-depth lessons on these things. Your presentation is easy to understand and I learnt a lot, as I'm looking at getting into video production and am facing a choice of what format to use. Keep up the brilliant work.

[@giosee_]

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

[@Gest_613]

Even tho I don't edit on premiere, this will be hugely helpful. I can't thank you enough for sharing this invaluable information!

[@GeorgeWilkins]

This was a very engaging video for the entire one and a half hours. Well done scripting Taran. 👍

[@kaysit2485]

I mean, I don’t edit professionally or anything. Do whatever looks best, or whatever the client asks for. But I personally interpret 29.97 to 30fps and pitch correct. Even at 44.1khz sampling rate, you’re only losing 50 samples. Your highest frequency gets cut to 22,025hz, which is still higher than the advertised frequency response of most shotgun microphones. The lose of bandwidth doesn’t seem like that big of a deal since it’s oversampled above the level of human hearing anyways. I absolutely love the trick of limiting a timelapse to 12 or 15 fps. Amazing video Taran. I wish Adobe would just contract you to manage the premiere team.

[@TaranVH]

This is very interesting to me. I don't have nearly the depth of understanding of audio that you do... but I still can't be sure that you're right. Is "losing 50 samples" REALLY the only thing that happens when you do that in Premiere? So, is it akin to Nearest Neighbor sampling? Where samples just get added or deleted, and the other samples are left alone? Because, I really don't trust Premiere for a lot of stuff. I only feel confident using a feature if I understand in great depth how that feature actually SHOULD work. Like, listen to the pitch-corrected audio at 5:36. It sounds like there are some echos in there, right? It does NOT sound like it should. To pitch correct, doesn't Premiere take tiny slices of the audio and then repeat them? That's why I'm afraid that pitch correcting 0.1% could cause a lot of damage to the audio. Like, I'm afraid it'll blend each sample with its neighboring sample. This is what happens when you change a graphic by 0.1% and use bilinear interpolation. It blurs ALL pixels with their neighbors. Same with frame blending. Now all frames are blended with their neighbors. So I'm afraid it works the same way for audio. But I don't know. Augh!

[@kaysit2485]

Fair enough regarding not trusting Premiere. And it does sound like double echo where you’ve pitch corrected. That’s some artifacting I wouldn’t expect from audacity. Maybe you should bridge the audio to audition? Usually to my ear, the issue with excessive pitch correction is you end with cutoff. Let’s say you’re mic records 20hz-20khz. If you slow down the audio by 100%, the highest pitch is now 10khz. It’ll sound like a phone call. I’ll look into it assuming the designer to know doesn’t over come you first and you beat me to it.

[@RockLuo0719]

This is a specifically good video that resolves so many 29.97 and 30 fps issues... thank you so much!

[@radiozelaza]

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

[@kallekontio2322]

If video was invented now this would probably be the way it's done.

[@Ishimuro]

Thank you so so much

[@thefreddit]

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.

[@embismusic]

Well, that is his career.

[@RiasatSalminSami]

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.

[@FlorentChardevel]

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.

[@derkernsen]

Thank you so much for this! You can tell how much time and effort this took. Unfortunately the KZbin algorithm doesn’t seem to appreciate as much as the viewers :/

[@Toma.s]

I think I was actually waiting for you to make this video but I didn't even know it yet. Exactly what I needed, thanks!

[@Protegit]

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]

Interesting stuff! What did I get wrong about PWM?

[@Protegit]

@@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.

[@WizardTim]

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.

[@Protegit]

@@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

[@DanSlades]

You must love your craft because you are a master. Amazing video thanks for sharing

[@QualityDoggo]

Excellent video. Framerate mismatch is always a pet peeve of mine, I seem to notice it even when friends and family don't. A personal trick, for complex or messy sources like 'old footage' which may be improperly telecined and/or (de)interlaced, fixing the source with ffmpeg before it even hits the timeline can allow massive improvements (at the cost of extra steps, storage, and transcoding)

[@AJMansfield1]

1:12:10 though if you have the right equipment (i.e. a camera and lights with shutter sync capabilities), PWM lighting can let you effectively have _significantly_ more light in a scene compared to how much energy and heat you're generating or how bright they look to your own eyes. After all, why spend all the energy and generate all the heat keeping the light on when the camera shutter isn't even open? Just turn the lights on when each exposure starts, and then turn them off again. (This trick is used all the time in security cameras and their infra-red LED spotlights, btw!)

[@AJMansfield1]

Shutter strobe outputs are a standard feature on almost all industrial cameras, as is the ability to set arbitrary framerates or even generate the framerate signal externally. If you need 30.000000000 FPS rather than 30.000000001, you are rarely more than one cable, one checkbox, and one atomic clock frequency reference away from that with industrial camera equipment, so it's frankly idiotic that that's _not even a thing_ on filmmaker cameras.

[@ethanoverwatch407]

WOW this video is AMAZING in all departments.

[@RandomlySet]

as soon as you said "Tween", I had flashbacks (no pun intended) to using Macromedia Flash in the early 2000s 🤣🤣

[@AliMoeeny]

holy moly, I have been watching for one hour and half, damn, thanks for putting this together

[@DOHandDOH]

I love how your videos are long and in-depth. Thank you.

[@Zullfix]

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.

[@killervacuum]

3:25 it took me years to realize this is why cs:s frag vids rendered in sony vegas look so much groovier

[@harryschmodder99]

Great video!! I think the RED calculator resolution maybe refers to the sensor size and following shot size of the image