Yes, it's because of my ignorance of 24p workflows I'm posting, really - I don't know how to invest in it, except to research forums (which I've done and there seems to be heavily conflicting opinions/advice) and ask questions ;)
So am I to assume that 24p in the Sony is actually 23.98? In which case, what difference does this make to my post workflow?
Cheers,
James
>________________________________
>From: bouke <bouke@editb.nl>
>To: Avid-L2@yahoogroups.com
>Sent: Monday, 15 August 2011, 23:46
>Subject: Re: [Avid-L2] Re: 24p/25p?
>
>
>
>Ok, just googled the darn thing.
>It's 5000 US dollars. That's about 300 euros next week. Who cares about a
>potential transport fee back to the states for warranty?
>Most power supplies / adapters nowadays don't care about voltage, they auto
>switch or can be switched. But your vendor will tell you.
>
>My biggest concern would be your technical know how about 24P.
>You need to invest heavilly in that!
>
>Two things i can tell you now:
>NEVER EVER think about 24 fps from now on, untill you are ready to play out
>to 35 MM.
>The framerate is 23.976 ! (close, but the difference is big enough for
>serious headache if you mess this up.)
>
>Don't worry about stuff like DVD or broadcast. For DVD you can use a
>downconvert to NTSC resolution, and put it on disk.
>European players will accept it, as well as NTSC players.
>(In fact i did a huge DVD project that originated on 25 digibeta, slowed
>down to 23.976 and scaled down to NTSC to get world wide compatiblity)
>For playout for broadcast you can speed up to 25. All is easy, help is
>available when you get to that point.
>
>Go toy with 23.976 material (NOT 24 material) and see how your avid /
>monitoring behaves.
>
>For your Ninja, i take it you use HDMI insta of FireWire?
>(this cam seems not to have FireWire out, nor is FireWire capable of
>uncompressed HD...)
>
>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_whitehouse1@yahoo.co.uk>
>To: <Avid-L2@yahoogroups.com>
>Cc: <Avid-L2@yahoogroups.com>
>Sent: Tuesday, August 16, 2011 12:26 AM
>Subject: Re: [Avid-L2] Re: 24p/25p?
>
>Hi,
>
>Thanks for the replies! The cam shoots mpeg avc/h.264 at about 28mbps
>internally, but I'll be using a Ninja from the uncompressed FireWire out to
>get lovely ProRes HQ ;)
>
>If it were possible to hack the firmware of the UK model for now, that would
>be great! Otherwise the only issues I can see with a US model is the
>warranty, the fact I may wish to shoot 25p for UK broadcast for other
>projects in the future and possibly the charger not being UK compatible?
>Cheaper in the US though!
>
>So if it is more likely UK will accept 24p, how will I convert for UK
>market, if I wished to produce, for example, a DVD release?
>
>Cheers,
>
>James
>
>On 15 Aug 2011, at 23:17, "bouke" <bouke@editb.nl> wrote:
>
>> Could one not use 'ignoreQTrate = true' to import in a 23.976 project? Or
>> CinemaTool to 24?
>> (Of course both need a QT compatible format to start with, but that can be
>> arranged)
>> No idea what this cam shoots, but i doubt it's an easy import anyways...
>>
>> And then the discussion about sound and pitch...
>>
>> What i don't get, did sony release a European and American firmware?
>> Smells like a simple software hack to get it 'fixed'
>> (it was common over here to hack cameras that had firewire in disabled due
>> to import fees)
>>
>> Last but not least, why not get one from the States then?
>>
>> 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: "Terence Curren" <tcurren@aol.com>
>> To: <Avid-L2@yahoogroups.com>
>> Sent: Monday, August 15, 2011 11:34 PM
>> Subject: [Avid-L2] Re: 24p/25p?
>>
>> 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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