Re: [Avid-L2] 29.97 and HD / RANT

Yes BUT,   For broadcast, actual delivery files are almost always
59.94i.  The footage may have been acquired as 29.97p (which looks great
IMO) but it will be delivered as 59.94i or, assuming the broadcaster is
broadcasting 1080i, it will be changed by them.  That change has does
little to the look.  It is the equivalent of 29.97psf.

I think the villains here are the marketing people and tech writers for
the camera manufacturers.  They continue to mislabel frame rates,
calling 23.976 "24", 29.97 "30" and the one I think is the most
confusing, calling 59.94p "60."  Just call stuff what it is. --J.B.

hoplist wrote:
> This is what I'm getting from this great conversation. We are almost
> universally delivering at four frame rates:
>
> 23.98p if you are attached to pull-down, or want to save 5% on
> storage, or for international delivery.
> 24.0p only for cinema, but this will be slowed to 23.98 for video
> delivery.
> 29.97 for video. Period. This may be delivered interlaced, but don't
> count on it.
> 25.0p for video almost everywhere other than the US
>
> So if you say 24p, I know you mean 23.98p, unless you are shooting for
> cinema.
> And you say 30p, I know you mean 29.97p.
> If you say 25p, I know you mean it, and are working in a country that
> doesn't have this problem. ;)
>
> Cheers,
>                   tod
>
>
>> On Aug 5, 2020, at 12:23 AM, Joe McDonnell <ltr54@sbcglobal.net
>> <mailto:ltr54@sbcglobal.net>> wrote:
>>
>> I have NEVER heard of 29.97i. The interlace format is 50i or 59.94i.
>>  A 29.97 frame rate camera setting is going to be 29.97P or PsF. To
>> shoot 29.97i setup your camera for 59.94i and the resulting frame
>> rate is 59.94 broken up into two fields which separately have the
>> equivalent temporal rate of each being 29.97 frame per second but
>> yield the soap opera look.
>>
>> If a producer is asking for 29.97i talk to the DP and if they don't
>> know then good luck. Cause 29.97i is going to look like crap if it
>> even exists.
>>
>> TMcD
>>
>>
>>> On Aug 4, 2020, at 10:40 PM, luca_gazzolo via groups.io
>>> <http://groups.io> <luca_gazzolo=yahoo.com@groups.io
>>> <mailto:luca_gazzolo=yahoo.com@groups.io>> wrote:
>>>
>>> 
>>> I ask again: If the client says 29.97i is the deliverable (and
>>> international or web is not a consideration), why the heck should
>>> production shoot anything else???
>>> This is not a rhetorical question.
>>> - -
>>> Patrick inhofer
>>>
>>> Hi Patrick, I happened to deliver a show shot in Italy to PBS in
>>> january. Shooting was at 25p for technical reasons: electric lights
>>> working on 50 Hz power do flicker when shot at anything but true 24,
>>> 25 or 50 fps, regardless of interlaced/progressive. Delivery was at
>>> 30i, or 29.976 if that's the real naming or frame rate (I did not
>>> took care of mastering). I'm not a camera expert, but I guess that
>>> the same flicker applies to 60 Hz lights shot at 25 fps, so you may
>>> find yourself in my shoes one day, delivering a US shot show to a
>>> european broadcaster... Anyway, since delivery was 30ish fps I asked
>>> the DP to shoot at 30ish fps and this out of control flicker is why
>>> he didn't.
>>>
>>> Regards, Luca
>
>



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