STOP MOTION - How to create new project as 10FPS?

PaulG do you have a sample of your work?

I did a lot of stop motion and line drawing animations in college. I had a lot of fun. Loading the film inside of a black bag inside a closet was hard. Now days people can use digital cameras.

First time you put 16mm inside a Bolex you wonder if it is right. You only find out when the film comes back!
BTW, smootheness is not related to frame rate. It's related to how much you move between shots, It can be smooth at 24 FPS. I am not saying that 24 FPS is the same as 60 FPS. It depends how much you move and what you want to achieve. Naturally a 60 FPS will have a lot more images, You can do great slow motion but it will take a lot of images ! And patience.

US video playback is 30fps? Where is that written? Broadcast is 59.94i, theatrical is 24p, Internet is international and any frame rate you want it to be. Don't know when the 30fps became a US-specific thing.

NTSC Television in the US was always 29.97. I said 30 becauseI was lazy. Functionally they’re the same thing. What’s your point? What does that have to do with stop motion, which is what I was addressing?

arc wrote: PaulG do you have a sample of your work?

Go to our reel and check the stop motion section: www.ffake.com

Nike Ad is very nice. I like this mixture of materials.
Rat actor is funny.

Set of film I'm working on. Travelling down the building with characters running.
Work in progress.

Albo wrote: BTW, smootheness is not related to frame rate. It's related to how much you move between shots, It can be smooth at 24 FPS. I am not saying that 24 FPS is the same as 60 FPS. It depends how much you move and what you want to achieve. Naturally a 60 FPS will have a lot more images, You can do great slow motion but it will take a lot of images ! And patience.

I stated the amount of distance you move the object is important. I mentioned moving it one centimeter vs two millimeters. Did you forget that? I did a lot of stop motion animation and line drawing in college.

Set up a 24 fps project a 30 fps project and also a 60 fps project. Simply make a picture in picture slide from one side of the screen to another in 1 second or less (kind of fast). It is real easy to do and you will easily see what I mean. 24 fps project will be choppy. You can even try 1080i. 1080i will look jerky on the computer screen but silky smooth on broadcast compliant equipment.

PualG,

Thanks for the link. Nice work.

Sorry Arc. Your right you did mention it!

"NTSC Television in the US was always 29.97"

No, it's 59.94i and always has been.

The standard carrier for electricity worldwide either is 50 or 60 Hz
So the PAL standard matched to 25/50 and the US (and other) used 30/60 in BW times. With color there were problems at latter rate so up from then 29.97/59.94.

In FCP it’s 29.97i. 59.94i would be 119.88 fields a second, which isn’t the case. I have a piece of video from FujiFilm camera that actually shot that frame rate, H.264, 1080, 59.94, with two fields per frame. I think the camera was around for about a year and then disappeared.

29.97 frames, but interlace was originally fields, so it was and is, in fact, 59.94i fields. We edit 59.94i in FCPX daily for American TV broadcast, I think I know how it works. Have a nice day.

I don’t see a project setting in FCP for 59.94i.

This is silly. SMPTE standard for SD NTSC television was 29.97 frames per second with 2 fields per frame. This was generically referred to as 30 in most circles because that Is what it essentially is. SMPTE HD is 59.94 fields per second. It is still essentially a variant of 30FPS. This Wiki should help: en.wikipedia.org/wiki/SMPTE_timecode

Some networks do broadcast in 720p at the 59.94 frame rate, no fields. Very nice for sports.

Apropos of the original post, I would venture that no-one in animation works at 59.94 as a time base. If this is how some broadcast cameras output footage, it is irrelevant to the production of animation. Stop motion is generally captured using still cameras at 24fps or 25 as a time base. Even in in the days of of SD NTSC we shot mostly at 24fps and added 3/2 pull down in post. Some of my colleagues shooting Doughboy spots used 30fps if there way substantial live/animation roto to do. But if it was self-contained, we shot at 24.

Why at 24fps?

FCPX.guru wrote: Why at 24fps?

Because that is the traditional projection rate of FILM. Before DSLRs and video, we shot on Mitchell 35mm pin registered cameras and film cameras don’t have partial frame rates. Moviolas, Mag synchronizers,Steenbecks, KEMs all work at 24fps. Projectors project at 24 FPS. That’s why telecine engineers invented 3/2 pull down. So that people using film equipment could transfer their 24FPS negative to 30 FPS NTSC video (okay, 29.97 for the pedants). Animators are lazy and they figure a telecine machine that can add the extra frames is easier than shooting them on set. And film screening gear works at 24, so looking at dailies or film editing can’t happen at any other rate than 24 FPS. And we still work at 24 because thats what looks like “film” to our eyes and why should we change?

All my stop motion animation was done at 24 FPS using a Bolex. That being said I would not do it that way today. I can only hope the original poster can take the information that was given and decide what will be the best solution in the year 2020 based on his hardware and NLE.