Now let’s go to a timecode in 23.98 where the frame value isn’t 00: Notice how we’re still exactly at 01:00:00:00 – also notice how my grid lines (which are set to 1 frame) are more frequent, because 29.97 divides a second into more frames than 23.98 does.
23.98 TIMECODE CALCULATOR PRO
Here’s a snapshot of Pro Tools in 23.98 at 01:00:00:00 (click any image to bring up a full-sized version)Īnd now here’s a screenshot where all I’ve done is changed over to 29.97 in the Session Setup window without moving my insert point at all. The bottom line is that things retain perfect sync when going between 23.98 and 29.97 FPS.įor Pro Tools this means that as long as your session start time is 00:00:00:00 then 23.98 and 29.97 will match up exactly at every whole second, including the hour. The only difference is that they divide up a second into a different number of frames. It’s a whole other topic to break that sucker down, so for now we’ll just stick with the fact that they both travel at the same speed. Both 23.98 and 29.97 travel at NTSC speed, which is 0.1% slower than real time. Do you need to conform anything? Will there by sync issues? Will things drift? What’s the deal?!įortunately, it turns out that things aren’t so bad. But your final mix is still expected to sync up to that HD master at 23.98! So you need to work in 29.97 and then convert to 23.98 for final layback. To make matters more complicated, it’s all too common for work picture to be delivered to post sound on a standard-definition format like Beta SP or DVCAM that still has to use 29.97 timecode. Post production workflows have changed accordingly, and one of the areas of biggest confusion has been the move to 23.976 FPS timecode. The vast majority of new content for TV is in HD, movies can now be gotten in HD on Blu-Ray, and you can even stream HD content online.
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