Personally, I am looking at buying the same camera. I have seen no hard evidence that the camera really shoots in 24p and I would not be surprised that it does 23.97, if it has a stable frame rate at all. Why? because the camera is designed for a low end TV economy and also it has only a HDMI output. True HDMI 24p is rarely used in the real world as there are few monitors that can read it. HDSDI is the industry standard for me. So test the camera before purchase. The Sony PMW-F3 is probably better adapted to what you need. I know that it shoots at 24p.
In the end, 24 or 23.97 does not really matter if you record the sound and video together. It is catastrophic if you don't.
As for the back end, the question is how will you deliver your film? That is the real question. If it is on film then go 24. If it is principally on tape, then use an easy tape speed. All festivals worth being seen in either accept HDCAM or DCPs and your producer will thank you for not having to do 2 sound mixes. Most DCPs servers can play 25p as all cinema commercials in europe are presented in 25.
Lastly, I would really question why this camera in partucular for a feature. It is a great camera, but with all the time and money you will be spending on it, I suggest that you use a camera designed for the purpose. The number of producers I have seen go out and shoot a feature with a Canon 5D and subsequently realise that it is a real false economy is becoming countless.
--- 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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