In Symphony, you can cross convert from 24 to 25 and 30, or from 25 to 24 & 30.
In MC you could open the 25 timeline in a 24 project, but every shot would have a motion effect applied to adjust. Not very elegant.
Personally, I think Europe is far more comfortable with taking a 24 then the US is with taking a 25 project. Not saying it's right, jut the way it is.
--- In Avid-L2@yahoogroups.com, "James W" <james_whitehouse1@...> wrote:
>
> Hi,
>
> Sorry for what may be an obvious question, but I'm about to invest in a Sony NEX FS-100 to shoot an independent, low budget feature. I'll be editing in Avid. The film will be sent to festivals in the UK, Europe and US and we hope to potentially release online and possibly get a limited theatrical release or broadcast.
>
> This means it is of importance to have the best, most flexible workflow in terms of frame-rates form the start.
>
> Problem - I'd probably intuitively choose 24p for a feature film which may have theatrical release or festival showings, but the UK model of the FS-100 currently has only 25p/50p. This is apparently to be fixed with a firmware update in the winter, but we're shooting before then. The US model was, on the other hand, blessed with 24p/30p/60p.
>
> So am I doing my post production and possible release media harm by purchasing the UK model and shooting 25p at present, should I get an air fare to NYC and go pick up a US model and shoot 24p, or does it make no difference ultimately, as I'm going to have to convert to something different whatever I use? I would ultimately go with whichever option is likely to give the best all round quality and least pain in post.
>
> Whichever option I choose, will I be able to do any such conversions in MC, or will I need to pay for a transfer for maximum quality? Any thoughts, advice and workflows greatly appreciated before I part with cash and lock out some of my options!
>
> Many thanks in advance,
>
> James
>
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