So I've opened up squared five, so I can import some of the clips that are 24 frames per second and 30 frames per second so I can rerender them individually. So I'm going to do is open up the first clip and see if we can find those. The last one is 24 frames per second. So we'll go with that one. And we'll just check 24 frames per second. Yep.
So we're going to render that one out at 25 frames per second. So we're gonna go File, quick time. And we're going to go H dot 264. Here's where we start. The frame rates when you're 25 frames. We're not going to scale.
We're going to go frame blending and better downscaling if that's what's happening. And we're going to render that one out. He's gonna go back into this one, so we're gonna go be we'll just let that do its thing. We'll just go and check that. Double click. It's opened up in quick time, so we're just gonna play it back.
And to make things even more confusing, we are now shooting at 23.93 I think it is or roughly if we just go to the Inspector, we can now see this 25 frames per second. And my voice doesn't sound any different to what I'm sending at the moment. The only thing I'm not overly happy with is the image quality is a little poorer than the previous one. So I'm gonna go back into here again. And if we go to show stream info, we'll see that it's it should be at 48 megabits per second. So we're going to export the same clip again by going File, Export quick time.
I'm using the dot H dot 264. And we're going to bump this up to 100% go movie again. And this time we'll go see we've actually got a higher data rate than was there originally. Now we're just going to locate that one. Again, 25 frames per second data size is actually quite big. But that's okay, that's playback.
And to make things even more confusing, we are now shooting at 23.93. I think it is roughly 24 frames per second. And again 1920 by 1080. Okay, that's working okay. And the sound is is the same rate as this one was. And to make things even more confusing, we are now shooting at 23.9.
So although ones are 25 frames per second, and this one is now 24 frames per second, you're not hearing any difference in the quality of sound. The pitch hasn't actually changed which is what you want. The preference is probably going to be the MPEG four. And where you want the full rate 25 frames second 100%. And the reason why I'm looking at the H 264. MPEG four is that this should be more compatible with using on a PC because I'm on a Mac as well.
So again, it's a case of experimenting and seeing what works. Well export that one. Go. I'm gonna do this one is D. That's that one completed. Again, we'll play that one. And this one's actually opened up now inside the squared five.
And to make things even more confusing, we are now shooting at 23.93. I think it is right Roughly 20 Yeah, so my voice again, the pitch is the same as as you're hearing at the moment. So that's good. So we're now going to open up another file. And this time, we're going to open up the, the 4k video and go, okay. still gonna use the MPEG four.
We're going to use the 1920 by 1080. If I'm going to go other way with that, and that looks as high as opposed to P but we're going to go and D interlace it anyway. And so you're not going to use the same, we're going to reduce the size of this one down from 4k to 1920 by 1080. And we're going to choose the D interlace this time, because the rest were progressive scan, but it's not give me that option here. So we'll go again This one will go D as well. I'm going to save this may take a little bit longer.
Before I play that last clip, I'm going to do another experiment. I just want to go for the quick time again, and see if there's a different codec that I could use. With the Z cam ones are ones that I would have used in the past, but we use the 25 frames per second one, so we'll go with that one there, because that's the same as what we shot. So we'll try the Z cam as the P 25 frames a second will not knock that one off, and then we'll just try this one. See Again, I'm gonna call this E. Again, I'm choosing different ones just to see which one will work in Lightworks. Now, again, I'm using a Mac.
And you may find that if you're using a PC that you need to use a slightly different codec. It is a case of experiment in until you find something that replicates something similar to what you are using. So the 25 frames per second, whatever camera you're using, try and see if you can emulate that one, so that any 30 frames per second clips that you are converting will then match up with your camera regionalist hero shot at 25 frames per second. And again, I'm concerned because the data rate here is actually quite small. Big difference so this little, this is a quick video test. And this particular video clip is running at 25 frames per second.
Not too bad, but I think that it's a low data rates I wouldn't necessarily go with that one. So let's have another look. And we will try this codec here. Just call this If so we can see straight away that the data rate is a lot higher than the previous one. Again, we'll just check that one. And the quick times having to convert it because it's it seemed to be an unusual codec for it.
So I'll play this one, see what it's like. So this little, this is a quick video test. And this particular video clip is running at 25 frames per second. There we go. That's looking good. So the reason for doing all these conversions is because you If you have a 30 frames per second video clip, and you play it in the mixed frame rates, it will play slower if you render it out at 25 frames per second, and so the pitch will go down.
Likewise, if you render 25 frames per second out at 30 frames per second, you will get a slightly higher pitch. So by re rendering using squared five, you're preventing that problem from happening, but we'll test that out shortly.