Basic Timing Modes

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‌Basic Timing Modes

The first six modes are deterministic, based solely on the range of frames specified for the source and viewing shot. We'll discuss these here.

Same. The same frame is used for the source as for the destination.

1:1. The Start Frame of the source is used for the Start Frame of the output, the frame after the source's Start Frame is used for the frame after the output's Start Frame, etc, on a one for one basis throughout the shot. No frame will be taken past the source's End Frame.

Scaled. Frames are drawn proportionately from the source shot: for a frame 25% into the output frame range, a frame is drawn 25% of the way into the source frame range.

Absolute. The animated Frame control spinner directly controls which source frame is used for each output frame. Can be initially animated by hand, but also the similarity and disjoint overlap modes write their results into this track, so that you can then switch to Absolute mode and adjust or extend those results if needed.

Note: The Frame Control value is always zero-based, ie 0 means the first frame of the shot sequence or movie, regardless of any Start at 1 or Match Frame Numbers processing. This is because it is also used as a relative frame number in this next mode...

Relative. The source frame is the output frame offset by the value of the Frame control spinner (constant or animated, positive or negative). Typically this is used to create simple time-shift effects.

It's important to see that only the Same or 1:1 modes maintain the original shot timing , and should be used wherever possible for inserts (split takes). The other modes are suitable for removals, not so much inserts, because they can alter the timing of the source shot, speeding it up or slowing it down. Even more importantly, judder effects can appear, especially if the source and output timing is only slightly different, and the timing dictates that a frame be repeated or dropped.

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