I didn't ask. I was quoting.
If you're shooting at 29.97, it is for a 'live' look, otherwise, it would behoove you to shoot 23.976p because it holds up better for broadcast and streaming and web and everywhere else.
If you're saying you shoot 29.97 interlaced for some convenience factor, that's actually not convenient for post. Shooting interlaced is problematic because inevitably interlacing has to be dealt with. It can miraculously pass through for broadcast, but then your web/streaming/etc. has to deinterlace, making your footage look worse. And good luck having the person in charge of doing those encodes knowing how to handle deinterlacing correctly.
It's not careless, but it should be more thought through. Shooting 29.97 these days is much more problematic for all of the downstream processes. Unless you absolutely need that 29.97 look, it's worth looking into shooting 23.976 - everything can be handled and look so much better downstream.
On Mon, Jul 27, 2020 at 11:12 PM wilsonchao <wilsonchao@gmail.com> wrote:
Mark,You asked "Why would anyone shoot 29.97?". When I'm managing a show destined primarily for broadcast on PBS here in the US, I like to shoot 1080i at 29.97, recorded in the field as DNxHD 145. Those camera original clips go through an Avid offline followed by an Avid finish and are delivered to PBS still as DNxHD 145 in an MXF OP1a wrapper. No transcoding ever; the video stays in the same codec from the camera all the way to the network. No "carelessness" here.Cheers,WilsonOn Mon, Jul 27, 2020 at 10:51 PM Mark Spano <cutandcover@gmail.com> wrote:The OP had little concern about 23.976 delivery. The question was that he was told 29.97 is "not HD", and he was looking for confirmation that that was a crazy suggestion. And it is. We all know from decades of HD production that yes, every HD broadcast in USA is either 29.97 or 59.94 fps. So the person he was talking to was clearly uneducated and spouting nonsense. Reassurance is possible here on the L.If the specs say x, you have to deliver x. The major problem in USA (maybe this is also a problem elsewhere?) is that almost NO productions have anything to do with the final delivery spec, nor do they care. It's a bunch of flyboys shooting what they think is good and who cares what post has to do with it. So most of the time, post editors are at the mercy of getting whatever we get from production and fitting it into the spec.The vast majority of people who shoot (excising frame rate here) are clueless, correct. Frame rate only matters to a few people in creative positions, and all of us in post.Why on Earth shoot 23.976? Because that is the best looking progressive shooting frame rate that works with US broadcasting math. If all broadcasting here is 29.97 or 59.94, simple 2:3 pulldown gets added and no speed up or slow down is necessary. So 23.976 is what we all prefer people here to shoot (both video and audio), and what we all prefer to edit in post, and ultimately deliver.Why would anyone shoot 29.97? Again, people in production often don't know or care about what post has to do, and lots of times people pick a camera, turn it on, and shoot - in post, we get weirdo frame rates from amateurish production all the time. If there is one reason to do it, it would be to approximate the 'live' look - so any production that wants to look like a live broadcast would shoot 29.97 or 59.94. Other than that, it's just carelessness.In the case of multiple frame rate sources (mostly archival stuff), you either stick to editing at 23.976 (and if you are lucky, budget Alchemist frame rate conversion for all your non-23.976 sources), or you might get away with moving the edit to 29.97 or 59.94 (as it is always easier on the eyes to add frames than to remove frames). And overall, non-sync B-roll should almost always be sped up or slowed down to hit the target rather than frame rate converted.It is only a crazy world when people don't pay any attention to the 'rules'. In the US, production almost always does not. Post almost always does.On Mon, Jul 27, 2020 at 10:14 PM bouke <bouke@editb.nl> wrote:Huh?This is all a piece of crap.(If Bob is no longer around here, someone has to do it.)If the specs say 23.976 (And that is NOT 23.97, nor is it 23.98, it's 24 / 1000 * 1001), you have to deliver that.So, it can be speeded up for European broadcast, can get pulldown added for the 60 hz world.No way around that.Having said this, how come that the vast majority of people who shoot 23.976 are clueless, and NEVER have to deliver outside their territory / internet?So WHY ON EARTH would they choose 23.976? (And have their sound recorders @24, like that is the same.)And why do pro shooters shoot 29.97 (i or p) when they should know that the content is for international delivery?Is Corona causing mass brain loss?On 27 Jul 2020, at 20:21, JBeck <jb30343@windstream.net> wrote:Will they accept 59.94i? If so, just change your project and deliver.
The result will be be equivalent to 29.97psf. --J.B.
Lou Wirth wrote:Im being told by QC that our doc must be 23.97 and can not be 29.97 as
HD can not be 29.97. Huh? Most of my HD projects are 29.97.
Am I missing something here. My avid project is 1080p/ 29.97
Thanks
Lou
Lou Wirth Productions
3210 Kerner Boulevard
Suite 302
San Rafael, CA 94901
*www.louwirth.com <http://www.louwirth.com>*
415-706-8992p
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