I tend to agree with the DoP, but I might be one of the few:
50 FPS (if shot over cranked 1920 or higher. If it's 1280, forget it!):
Gives you the opportunity to output progressive 25 FPS for Theatre (yes, DCP accepts 25, but slowing down to 24 is also an option) and internet / computer.
Very easy, just drop every other frame
If you go to TV, you can go to interlaced, by using field 1 from even frames, field 2 from odd frames.
This gives smoother motion on TV. (Yes, i know lots of people like the 'filmish' style of low frame rates, I don't)
There WILL be fast motion. Trucks moving in front of the cam, people walking / working, stuff like that…
Personally I love interlacing! High framerate with lots of motion blur, low data rate.
And of course, in case you want slomo, it will work way better.
The price you pay:
More data (Not that much since it's probably long GOP)
Slightly more work in Post (but it's not that hard)
Perhaps a higher shutter speed, so a bit less motion blur in the image. (But in theory it should be the same as 25i)
But as always, why not test and have a look at it, see how you like it?
Last but not least, can we shoot the guy who came up with framerate definitions like 50i?
It's 25i or 25p, or 50p (where the P is redundant, as there is no 50i)
Same goes for 29.97.
The Lingo should be: Framerate (Progressive or Interlaced)
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On Aug 10, 2016, at 12:12, ph@cineaste.org [Avid-L2] <Avid-L2@yahoogroups.com> wrote:Hi there,
A friend of mine asked me for advice on which settings she should use for her new documentary. She spoke to a DoP who said "use 50p with your FS5 camera". I have never seen 50p used outside of sports or when slow motion is required - her film is about the workers in a harbor, not exactly fast moving action.
The film aims at festivals and TV sales, where it's more likely to be shown at 25p (or 50i), what would be the best route? My gut feeling is stick to 25p, but that could be because of my limited experience with 50p.
Thanks!
Pierre
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Posted by: Bouke <bouke@editb.nl>
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