Mostly, you need to make sure that your post house can do 23.976. They very well might. More importantly, you need to find out if your sound editing and mixing facilities can handle 23.976. As you are in the UK, you would likely be able to find folks who can do that. But assumption is the mother of all f***ups, as they say, so do check.
I'm not saying it's impossible, nor a bad idea necessarily, I just objected to Bouke's suggestion that 23.976 was a common shooting format - in the 50Hz world. 23.976 was created for the 60Hz (actually 59.94) world, as it is more easily compatible with NTSC video equipment (like SD telecine) by adding 3:2 pulldown. In the PAL world, there is 12+1 pulldown for 24.00-within-50Hz. That is generally not considered acceptable for broadcast, but very much the standard way to handle 24p films during (SD) editing. I mostly offline in HD these days, and use a 24.00fps workflow from shooting to post on that, and with HD monitors, there is no more pulldown of course.
You'll find different opnions when it comes to 24 vs 25.
Shooting 24 will mean a cleaner workflow for theatrical release and NTSC-world video distribution, as no speed changes and pitch corrections are needed.
Shooting 25 will mean a cleaner workflow for PAL-world video distribution, as no speed changes or pitch shifts are required.
A picture speed change (frame by frame) from 24 to 25 is not a problem. Your film will run a little faster. From 25 to 24, your film will be slower (which I personally object to more than the other way around).
Changing the speed of the sound in either direction is not much of a problem BUT the pifch of the sound will change siginificantly. As others pointed out, the pitch shift can be compensated for, but that is not an easy process. Any quick&dirty methods will be very dirty. Seperately processing mix stems, sometimes with different tools, appear to be the best way to go about it. That's time-consuming and expensive of course. Some sound engineers prefer to live with the altered pitch, rather than compromising the sound quality.
US movies, shot on 23.976 or 24.00 (depending on studio and acquisition format), released on video in the 50Hz world, are all bring sped up to 25fps. Sometimes the pitch shift is neimg compensated for, sometimes not.
Rule of thumb: primary release format determines shooting speed and post speed.
Sent from my iPad
On Aug 19, 2011, at 10:20, James Whitehouse <james_whitehouse1@yahoo.co.uk> wrote:
> So I managed to confirm that the FS100, in it's US guise, shoots 23.97 (and calls it 24p). I'm still trying to find out whether it allows a 1/50 or 1/100 shutter while shooting at that framerate.
>
> Now it sounds as though shooting 24p (23.97) is a bad idea for post in the UK and I'd just got used to the idea!
>
> OK, but if I shoot 25p, that appears, from everything I've now read (not just posts here) to be pretty problematic in terms of post sound? I still have no clear idea of which one is best.
>
> What exactly are the issues with working in 23.97 in the UK then? Just so you're aware, I'm using LCD monitors and I don't use a standalone DVD deck - I use the DVD burner in my XW8200 (my only standalone is an old Sony DVCam deck from doing corporate work for a little while years ago, but it's PAL/NTSC switchable)...
>
> Why is this so confusing?
>
> :-/
>
>
> On 19 Aug 2011, at 08:38, "Job ter Burg (L2B)" <Job_L2@terburg.com> wrote:
>
>> Sorry, but if you're in the 50Hz world: NO, NO, NO. I strongly disagree with Bouke on this.
>> In the 50Hz world, people shoot 24.00fps if intended for theatrical release. Period.
>>
>> On 18 aug 2011, at 19:17, bouke wrote:
>>
>>> Now since during the process you need screeners and stuff, i would suggest
>>> use a universal video friendly framerate. And that is 23.976
>>
>>
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