Thanks, I think that's what I'll do. So I'll check the US version uses that framerate and a few other things, then go for it.
Sent from James iPhone
On 18 Aug 2011, at 18:17, "bouke" <bouke@editb.nl> wrote:
> It is a fairly standard process, but the problems arise when people mix up
> 24 and 23.976
> the general term "24P" most of the time does not mean exactly 24 fps.
> the beaty of P is that you can speed up / slow down 24 / 25 / 23.976, and
> add pulldown for NTSC.
> This all is very problematic with interlaced material.
>
> So, it does not really matter quality wise what you choose, as long as it is
> not 29.97 nor interlaced.
> You already know about pace.
>
> What is important is that you stick to the choosen framerate in everything
> to the very end.
> Now since during the process you need screeners and stuff, i would suggest
> use a universal video friendly framerate. And that is 23.976
>
> Bouke
>
> VideoToolShed
> van Oldenbarneveltstraat 33
> 6512 AS NIJMEGEN
> The Netherlands
> +31 24 3553311
> www.videotoolshed.com
> For large files:
> http://dropbox.yousendit.com/BoukeVahl998172
>
> ----- Original Message -----
> From: "James Whitehouse" <james_whitehouse1@yahoo.co.uk>
> To: <Avid-L2@yahoogroups.com>
> Cc: <Avid-L2@yahoogroups.com>
> Sent: Thursday, August 18, 2011 6:36 PM
> Subject: Re: [Avid-L2] Re: 24p/25p?
>
> OK that's interesting, so what you're saying is that it's better to shoot
> 23.97 or 24p then pitch audio and image up 4%? I've heard plenty about it
> being problematic pitching down (does this take the sampling rate down too
> low?) but nothing against pitching up. Thinking about it, all Hollywood
> movies coming to the UK must have a good workflow for this, it's done so
> often.
>
> I need to find out whether the US variant of the camera shoots true 24p or
> 23.97.
>
> The trouble is, we don't know where the film will go yet - it'll be entered
> into festivals for sure, but not just in Europe. However, I have direct
> contacts with a lot of development execs as my main profession is now as a
> screenwriter, not so much in production. So although we'll have an invited
> screening through my agent, we'll also be just sending out bluray and DVD
> copies to execs I know. That's why I need the most flexible workflow and,
> annoyingly I know, I can't tell you which is the most likely release format
> at this stage. It could either get picked up for theatrical release or
> straight to broadcast/DVD.
>
> If it's a question of speeding up or slowing down 4% I'd rather speed up and
> make the film more pacey than slow down!
>
> I do apologise though - I had no idea this was going to cause so much
> problems - I assumed there would be a fairly standard workflow! My bad!
>
> On 18 Aug 2011, at 12:14, "Christopher Lowden" <christopher@fearlesstv.com>
> wrote:
>
> >
> >
> > Bourke
> > 2 years ago I directed a 30 min short shot at 25p avc100 intra. My goal
> > was festivals who take either tape at 25 or dcp at 24. I mixed the sound
> > in 5.1 at 25 then pitched it for the 24 dcp. It was a distaster. I had
> > orchestral music and all the strings broke up on the pitch. It was bad on
> > the tv but in a cinema, it was pathetic. I have never met a cinema sound
> > engineer who has found a foul proof way of digitally pitching sound,
> > particularly long notes without breaking up.
> > In the end, I recorded the 5.1 files onto 1/4 analog tape and then did the
> > pitch in analog back digital. The result was inifinetly better. The moral
> > of the story is that the sound is even less flexible than the image.
> >
> > --- In Avid-L2@yahoogroups.com, "bouke" <bouke@...> wrote:
> > >
> > > No, the answer is not that simple!
> > > You forget one thing.
> > > Almost all work is done in a video surrounding with video equipment. And
> > > that does not play well with 24.
> > > It does with 23.976.
> > > (hence Lucas shoots 23.976, and he's not after the DVD market!)
> > >
> > > Speeding up from 23.976 to 24 is not that difficult and has an
> > > unnoticable
> > > pitch shift.
> > > Getting true 24 material in a video surrounding and handle all the
> > > madness
> > > has caused terrabytes worth of mailing list questions.
> > >
> > > Bouke
> > >
> > > VideoToolShed
> > > van Oldenbarneveltstraat 33
> > > 6512 AS NIJMEGEN
> > > The Netherlands
> > > +31 24 3553311
> > > www.videotoolshed.com
> > > For large files:
> > > http://dropbox.yousendit.com/BoukeVahl998172
> > >
> > > ----- Original Message -----
> > > From: "Christopher Lowden" <christopher@...>
> > > To: <Avid-L2@yahoogroups.com>
> > > Sent: Wednesday, August 17, 2011 10:07 PM
> > > Subject: [Avid-L2] Re: 24p/25p?
> > >
> > >
> > > Concerning 24 versus 25, the answer is simple. It the primary
> > > exploitation
> > > is cinema film then go 24. 24 is the standard both for film and dcp. If
> > > you
> > > have a project that might be shown on a couple of short film festivals,
> > > choose 25 as the primary exploitation will be the video world. Often,
> > > the
> > > film distributor will demand a certain frame rate depending on the
> > > exploitation strategy and distribution costs. Be very careful on the
> > > sound.
> > > People are often obsessed by the video, but it is the sound that has
> > > often
> > > caused me the most problems. Pitching sound even from 24 to 25 can be
> > > very
> > > problematic.
> > > Hope this helps.
> > >
> > > --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@> wrote:
> > > >
> > > > So 24frames/sec divided by 50 cycles/sec = 24frames/50 cycles
> > > > 24frames/50 cycles multiplied by 360 degrees/frame=172.8degrees/cycle.
> > > >
> > > > Now a cycle is an AC sine wave. So this is saying that at a shutter of
> > > > 172.8 degrees my exposure time will maintain a constant relationship
> > > > to
> > > > the AC sine wave powering the lights. The AC sine wave is the voltage
> > > > feeding the lights so the lights will have a constant voltage relative
> > > > to
> > > > the shutter opening which should maintain a constant light level
> > > > during
> > > > the exposure window. I feel like I might be missing something here.
> > > >
> > > > --- In Avid-L2@yahoogroups.com, "bouke" <bouke@> wrote:
> > > > >
> > > > > and a good opportunity for math class 101
> > > > > (much more appreciated on the FCP-L, but that's another story...)
> > > > >
> > > > > For 24 with 50 Hz light:
> > > > > 24 fps / 50 hz * 360 (degrees) = 172.8
> > > > > That makes for 23.976: 172.6272 (no idea if that's an option...)
> > > > >
> > > > > For shooting 24 in the US:
> > > > > 24 fps / 60 hz * 360 (degrees) = 144 degrees
> > > > >
> > > > > But the bottom line, set your exposure time to a multiple of the
> > > > > light
> > > > > frequency and you should be safe...
> > > > > (and there is logic in that...)
> > > > >
> > > > > (disclaimer, i'm not a DOP, but just love to understand the way
> > > > > things
> > > > > work...)
> > > > >
> > > > > Bouke
> > > > >
> > > > > VideoToolShed
> > > > > van Oldenbarneveltstraat 33
> > > > > 6512 AS NIJMEGEN
> > > > > The Netherlands
> > > > > +31 24 3553311
> > > > > www.videotoolshed.com
> > > > > For large files:
> > > > > http://dropbox.yousendit.com/BoukeVahl998172
> > > > >
> > > > > ----- Original Message -----
> > > > > From: "David Dodson" <davidadodson@>
> > > > > To: <Avid-L2@yahoogroups.com>
> > > > > Sent: Wednesday, August 17, 2011 11:04 AM
> > > > > Subject: Re: [Avid-L2] Re: 24p/25p?
> > > > >
> > > > >
> > > > > >
> > > > > >
> > > > > > Ahhhhhh... That's hot information! Thanks, Job!
> > > > > >
> > > > > > David
> > > > > >
> > > > > >
> > > > > > On Aug 17, 2011, at 12:53 PM, Job ter Burg (L2B) wrote:
> > > > > >
> > > > > >> Just asked a DoP buddy. Cameras have a shutter setting for 172.8
> > > > > >> degrees,
> > > > > >> which is used on 24fps film shoots, to compensate for practicals
> > > > > >> and
> > > > > >> non-flicker-free lights. Effectively, the shutter speed then
> > > > > >> becomes
> > > > > >> 1/48th rather than 1/24th, he said.
> > > > > >>
> > > > > >> On 17 aug 2011, at 08:02, David Dodson wrote:
> > > > > >>
> > > > > >> >
> > > > > >> > And if you have practicals on set? For example, we start
> > > > > >> > shooting a
> > > > > >> > feature next week here in Moscow. We're shooting RED cameras,
> > > > > >> > probably
> > > > > >> > at 24fps, and will have plenty of practical lights on set. So
> > > > > >> > are
> > > > > >> > we
> > > > > >> > better off going 24fps, 23.976fps, or 25fps? And this is for
> > > > > >> > theatrical
> > > > > >> > distribution, both in 35mm and DCP.
> > > > > >> >
> > > > > >> > David
> > > > > >>
> > > > > >>
> > > > > >
> > > > > > David Dodson
> > > > > > davidadodson@
> > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > > [Non-text portions of this message have been removed]
> > > > > >
> > > > > >
> > > > > >
> > > > > > ------------------------------------
> > > > > >
> > > > > > Search the offical complete Avid-L archives at:
> > > > > > http://archives.bengrosser.com/avid/
> > > > > >
> > > > > > If you want to donate to Red Cross quake relief, you can do so
> > > > > > through
> > > > > > your cell phone. Text redcross to 90999 to make a $10 donation. It
> > > > > > will be
> > > > > > on your next cell bill.Yahoo! Groups Links
> > > > > >
> > > > > >
> > > > > >
> > > > >
> > > >
> > >
> >
> >
>
> [Non-text portions of this message have been removed]
>
>
[Non-text portions of this message have been removed]
If you want to donate to Red Cross quake relief, you can do so through your cell phone. Text redcross to 90999 to make a $10 donation. It will be on your next cell bill.
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