well, i disagree on the flexibility of adding pulldown during the shoot.
If you edit with pulldown, you get cadence breaks, so the whole idea of 24p
is gone on the master.
And i would say only if, AND ONLY IF there is a chance to get to Europe or
the theatre, shoot 24.
Otherwise, be happy about 6 frames more per second.
Bouke
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----- Original Message -----
From: "Dom Q. Silverio" <domqsilverio@gmail.com>
To: <Avid-L2@yahoogroups.com>
Sent: Friday, March 02, 2012 1:32 AM
Subject: Re: [Avid-L2] Shooting specs
> Sony suggests 10 bit codec when shooting S-log to truly take advantage
> of this feature.
>
> 145 vs 220? Just really depends on cost and delivery requirements.
> Bigger files means more storage, more time to copy the files for backup,
> higher cost. Are you going to offline/online or stay online all the way?
>
> If you are delivering SR, I strongly suggest 220.
>
> 220x (10 bit) and 220 8 bit do take the same amount of space. 10 bit is
> achieved by sacrificing a bit in compression ratio as it is a bit more
> compressed than 8 bit.
>
> Shooting 23/24p with pulldown will make it easier in post but staying
> true 23/24 gives you more flexibility.
>
>
> .02
>
> On 3/1/2012 7:10 PM, Dan McCabe wrote:
>> Some tech questions have floated my way and I wonder if folks here have
>> some experience/opinions.
>>
>> This is for a PBS documentary series, interviews and archival mostly.
>> There is a good chance much of it will be shot on the Sony F3 using an
>> external recorder in a DNxHD codec. No green screen.
>>
>> Here are the questions:
>>
>> Should we use an 8-bit or a 10-bit codec? (Again, a broadcast series. No
>> green screen.)
>>
>> It is my understanding that 8-bit and 10-bit take up the same amount of
>> disk space. Correct?
>>
>> The F3 can use S-log. If folks want the latitude of S-log, does that
>> mean 10-bit because 8-bit doesn't have enough information to be
>> processed?
>>
>> If 8-bit, is DNxHD220 overkill for broadcast? Should we use DNxHD145 to
>> decrease storage? Or is better to err toward more information to provide
>> more color correction possibilities especially for when someone screws
>> up?
>>
>> The Producers want to shoot 23.976 fps. There may be the choice to
>> record with pull-down at 29.97 fps. The final delivery will be 29.97fps.
>> Most of the archival will be 29.97fps.
>> Should they record the 23.976fps as 29.97fps DNxHD files to streamline
>> the edit?
>>
>> Thanks for any insight,
>>
>> Dan
>>
>>
>>
>>
>>
>> ------------------------------------
>>
>> Search the official Complete Avid-L archives at:
>> http://archives.bengrosser.com/avid/
>> Yahoo! Groups Links
>>
>>
>>
>>
>
>
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