Timings off on 59.98fps Conformed Footage

This is the first time I'm really using Color to it's fullest potential, so a quick disclaimer that it could be something obvious. Anyhoo, here's the deal: I'm editing some stuff I shot on the Sony FS100. Most of the footage I shot was 1080p 23.98 fps, but there were a few sequences I wanted at 1080p 59.98fps to get the slow motion effect. I'm done editing and have exported to Color, but the sequences that were shot in 59.98fps and conformed to 23.98fps are not showing up properly in Color. Everything plays fine in FCP 7, but when I export to Color, it shows the clip duration from the beginning of the clip rather than the proper in/out points. I've posted the workflow below, so any help would be much appreciated.

FS100 1080p 60fps Workflow:
1. Transcode AVCHD files to ProRes HQ in ClipWrap without altering framerate (conforming to other framerates is now an option in ClipWrap, but they only have an option for 24fps, not 23.98, so I didn't want to risk it).
2. For 59.98fps footage, do an additional transcode (ProRes HQ) with MPEGStreamclip because Cinema Tools won't conform the footage straight out of ClipWrap.
3. Do a batch conform of the 59.98fps footage to 23.98 in Cinema Tools.
4. Import everything into FCP 7 and edit.
5. Export to Color. Everything looks good except for the timing of the conformed footage.

Thoughts?

Thanks!

[Eric Whitehead] "Most of the footage I shot was 1080p 23.98 fps, but there were a few sequences I wanted at 1080p 59.98fps to get the slow motion effect."

Quibble: you probably mean 59.94, no?

Otherwise, you were shooting "overcranked", so what you actually wanted to do was export the 59.94 @ 23.98 so each 1/60 frame played at 1/24. Its an old old film trick (called overcrank because Charlie Chaplin simply turned the crank faster) blha, blah, blah.

If you were to do this and export a sequence that only contained 23.98, your concept would work.

The math goes like this... if you were actually shooting 2997 interlaced or PsF (which some people mistake as 59.94, otherwise you would be talking about 60P) your footage will run at 24/30 (80%)... just sort of "dreamy". If it was 60P converted to 23.98, you'd get 24/60 or 40%, which is a truer slo-mo, not quite SuperSlo, which is 33.33%.

COLOR can deal with linear time re-maps, but not mixed framerates. It only observes the "In" timecode, and then calculates clip duration based on absolute frame count and the project frame rate.

jPo

You mean "Old Ben"? Ben Kenobi?