Thu Jan 13, 2022 1:16 pm
It seems like they had off-speed recording toggled on, which automatically conforms high frame rates to a set project frame rate in camera. It's useful when all you want to review is the slowed footage (and don't want to deal with the hassle of reinterpreting to a different frame rate later), not so useful as once it enters into a project and you want to see it realtime, it's a guessing game for the original recording frame rate. As I'm writing this, I vaguely remember a meta data field that can be viewed called "CAMERA Frame Rate" (not just "frame rate" or "FPS"). Use the meta data tab in the Media Page (in Resolve) and it should be under the "camera" group, I think. That might tell you exactly what the original frame rate was. If you are using Premiere or something else, check to reveal a field that says "camera frame rate" or something similar.
This is what I do in Resolve, so just a suggestion:
Alt/Opt drag all the said footage into a different media pool folder, this effectively creates two media pool instances using the same source file. Resolve will treat both instances separately, even though it's pointing to the same drive location.
With all the clips in the new group selected, use clip attributes to change to a higher frame rate, If you get the right one, the audio should line up perfectly when played back. If you can get in touch with the person who shot it, just ask them if they remember. But if the above meta data field exists (that I mentioned), then no need to guess or hunt down info.
Now you have a set of realtime + slowed footage; able to use whichever the situation calls for.
An extra step would be to change the clip color of the realtime clips (if you want to put them all back into the same media pool bin), and then, if not too much, manually change the clip name (not file name) of each file to add an "_REALTIME" as a suffix. That way, when you use the clips in the timelines, or if you use source tape in the Cut Page, there's a way to differentiate the clips at a glance, or group them by clip color if you only want to look at one group or the other.
All this I do in the Media Page, as I don't like to mess with re-timing controls in the Edit Page unless I'm keyframing speed ramps or something specific. I would basically have two possible starting points if ever creating a ramp, use the realtime clip then slow it down, or use the original off-speed clip and then speed it up. It doesn't really matter.
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