You can mix them in the time line. When you produce the video, they will be converted to whichever frame rate you choose. I personally use 30 fps for most projects. Since my camcorder shoots everything natively at 60i, it doesn't seem to make much difference between 60 or 30. The newer Canon's do shot 24fps natively and maybe you get better results. __________________________________
CORNBLOSSOM

You should try to shoot, edit and produce in the the same FPS and pick the fps you plan to view the content in. Any mismatch will result in Judder as frames will need to be either repeated or deleted to get them to match. You certainly should avoid mixing FPS source material where ever possible. PD 64 Bit-Win10 64 Bit-32GB RAM-80TB HDD
Sony FX6 - 500Mbps 4k/50p AVC-I HLG
Canon XF400 - 150Mbps 4k/50p AVC
GoPro Hero6 Black
Pana HS700-28Mbps 1080/50p AVC (High@L4.2)
Canon HV20-HDV 25Mbps 16:9 1440x1080/25p MPEG

If your output is of a LOWER frame rate than the input you should see no appreciable difference.

The other way around is a gamble that will require several test runs to determine which is best. Win 10, i7

Not really, any mismatch will result in judder. Take a simple example of reducing a 30fps clip to a 25fps output.

The original clip is 30 frames per second, yet you want to output in at 25 frames per second, so you have to remove 5 frames per second (if you want to keep the speed the same) so a simple "pulldown pattern" will remove every 6th frame (the red ones).
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 to end up with only 25 frames per second.

In this case you will notice a little "jump" ever 1/5th of a second as the output has jumped over the dropped frame.

There are all sorts of ways to deal with differences in FPS from pull down patterns, even speed up / speed down that are used to move from one fps to another. Some starting info on the issue is here - http://en.wikipedia.org/wiki/Telecine

In short, avoid like the plague any fps differences; it must lead to a quality issue that will especially be seen in panning. If you live in an NTSC country you may be somewhat immune to this as you have lived with 2:3 pulldown for ever on your TV Broadcasts of Movie Content so will be used to these little and regular stutters. PD 64 Bit-Win10 64 Bit-32GB RAM-80TB HDD
Sony FX6 - 500Mbps 4k/50p AVC-I HLG
Canon XF400 - 150Mbps 4k/50p AVC
GoPro Hero6 Black
Pana HS700-28Mbps 1080/50p AVC (High@L4.2)
Canon HV20-HDV 25Mbps 16:9 1440x1080/25p MPEG

Now if we could only find out how PD11 decides on which frames to omit ??? Win 10, i7

You can, and I did this in PD10 to see what patterns were being used (they were all pretty std/simple).

1) Make a Frame Accurate project using individual pics for each(see attached
2) Render the file out at the other frame rate
3) Load the file back in and step throug it frame by frame and you will see what the output is.

I'll start a new thread with packaged PD11 projects for these (I'll dig them up and post them) PD 64 Bit-Win10 64 Bit-32GB RAM-80TB HDD
Sony FX6 - 500Mbps 4k/50p AVC-I HLG
Canon XF400 - 150Mbps 4k/50p AVC
GoPro Hero6 Black
Pana HS700-28Mbps 1080/50p AVC (High@L4.2)
Canon HV20-HDV 25Mbps 16:9 1440x1080/25p MPEG

I've posted the test projects in this thread http://forum.cyberlink.com/forum/posts/list/25402.page

..and FYI, PD drops Frame # 4, 10, 16, 22, 28 (so one each six frames) when using the 30fps test pattern and rendering out to 50i (AVC using both GPU and CPU rendering). If you do this you will see an rendering artifact issue with the CPU rendering (already reported) PD 64 Bit-Win10 64 Bit-32GB RAM-80TB HDD
Sony FX6 - 500Mbps 4k/50p AVC-I HLG
Canon XF400 - 150Mbps 4k/50p AVC
GoPro Hero6 Black
Pana HS700-28Mbps 1080/50p AVC (High@L4.2)
Canon HV20-HDV 25Mbps 16:9 1440x1080/25p MPEG

Thanks to all of your answers, really interesting issues.

But getting back to my first question :

Is it the same to shoot and edit in 60 fps, and then produce in 24; than shoot at 24, edit and produce in 24 fps, in terms of final result / quality?

If it is, i prefer to shoot in 60 (no storage problem) to keep best quality for future use.

Comments?

Thanks.

I'd shoot and edit in the "best" your cam supports, eg 60p. I would then distribute in the best format you can, eg for a
- HTPC use the 60p original, or
- If you HW Player supports 60p then keep to that, or
- If you need to distibute on a DVD or BD that does not support 60p then use 60i

Don't use 24p for 60p material.
PD 64 Bit-Win10 64 Bit-32GB RAM-80TB HDD
Sony FX6 - 500Mbps 4k/50p AVC-I HLG
Canon XF400 - 150Mbps 4k/50p AVC
GoPro Hero6 Black
Pana HS700-28Mbps 1080/50p AVC (High@L4.2)
Canon HV20-HDV 25Mbps 16:9 1440x1080/25p MPEG

Quote: I'd shoot and edit in the "best" your cam supports, eg 60p. I would then distribute in the best format you can, eg for a
- HTPC use the 60p original, or
- If you HW Player supports 60p then keep to that, or
- If you need to distibute on a DVD or BD that does not support 60p then use 60i

Don't use 24p for 60p material.

What about the 24fps film-look-like? Or, finally, it is just a myth?

I'm really confused.
Thanks for your answer

There certainly is a "Film Look", and also a “Sepia”, “Super 8”, "VHS" and “Youtube” look as well but unless you were after some “special effect” please don't destroy your beautiful 1080/60p footage – it is so much better! Imagine saying I want the VHS look!?!?!?

24fps has been around for almost 100 years in the film industry so the “look” has been around for our entire life as historically almost all movies have been shot at this very low 24 frame rate. If you want the film look you should shoot in 24fps (and some cams will have this option).

The very very big disadvantage to 24fps is that it is so slow any fast movement such as panning shows "motion blur and flicker". Directors of course know this limitation so you see these graceful slow mo pans to hide this issue. The big advantage is that it was cheap on film stock (or now HDD space ) and equipment. The movie industry is finally looking at moving to higher frame rates. More on frame rates here - http://en.wikipedia.org/wiki/Frame_rate

Leave 24fps to the quirky back woods production of some horror movie and enjoy your High Def / High Frame rate content - it looks stunning on the right display. PD 64 Bit-Win10 64 Bit-32GB RAM-80TB HDD
Sony FX6 - 500Mbps 4k/50p AVC-I HLG
Canon XF400 - 150Mbps 4k/50p AVC
GoPro Hero6 Black
Pana HS700-28Mbps 1080/50p AVC (High@L4.2)
Canon HV20-HDV 25Mbps 16:9 1440x1080/25p MPEG

Jmone
Really, thanks a lot for your comments. Completely usefull.

Regards, from Chile
Paul

if I m shooting a video at night, it will be better to shoot at 60 fps and I wont lose quality.

The advantages in shooting night scenes at a lower frame rate would be greater light sensitivity with a slower shutter speed as long as there is no or very little subject movement.

thank you

Depending on how you cut things, you could loose audio sync with talking heads.

ho do I fix that

ALWAYS SHOOT B-ROLL MATERIAL - These become your band-aids. The better and more relevant you shoot them the more they blend in and hide production fixes.

To sync audio, this is what I do:

1. I always include a good closeup zoom on talking heads in places where I am going to be inserting B-Roll in post-production editing. So my shooting looks like this - talking heads together, separate, never crossing the line, then at 3-4min mark, zoom in, after a few seconds of recording yell freeze to the talent, record room tone, end video clip, move camera position at least 3 feet (I place masking tape "X's" on the floor before shooting.) This zoom in allows me to see lips for syncing audio if required. The zoom will be "L" cut with B-Roll or back to the other talking head closeup. The camera moves are so that if I go from one shot type and cut directly to the same shot type it won't look weird.

2. Detach audio from offending clip.

3. Click off the clip so that everything isn't selected, then reselect the audio.

4. Drag both the front and end of the audio part of the clip inwards to shorten.

5. Expand the audio and video time lines in length and width.

6. Watch video in preview screen and move the audio forwards and backwards until they look right.

7. Next time use some type of tool to make a visual and an audio mark in the production; clap board, smartphone app, tablet app, talent clap.

If the FPS of the video is different than the recording speed of the audio, as happens with "L" cuts, you could place each clip in their own project and output at the FPS you want, then import into the final project. What I have found is that every few seconds or so in the video, dissimilar speed audio will unsync so don't think it will just be one correction you have to make with long clips.

This is a good argument for recording as short of clips as possible during production. I never exceed 4 minutes; usually my clips are between 2-3 minutes long.

Hi!!

This old problem still seems to exist!

I too have this problem, and it seems to cause jerkyness. But sometimes if I produce DVD or Bluray I am restricted in the frame rates and type. I have also found that is can also be caused by a low bit rate or if I do not apply "Smooth" on MPEG2 files (also a bit rate issue?).

So after trying many editors, including the latest Powerdirector I have found you need interpolation video software to properly fix the framerate problem. These drop/duplicate or merge frames and the best seem to algorithmically predict the movement between one frame and the next, but I needed to match the method to the type of movement on the video. Without these tools obviously shooting at the higher frame rates should be better, but not perfect. There is also the low light issue.

I notice that if you slightly change the clips speed in Powerdirector it offers to interpolate frames, but this can destroy the audio and does not seem to work well in my circumstances.

So (historically) having a number of cameras, each with different strengths, my conclusion is use the interpolation software and produce clips all of the same target framerate and then edit them within you project. Provided the intermediate files have a higher bit rate minimal quality should be lost.

Any other thoughts?

Dave