You really have two options.
Option A is the sped up PAL approach. This is the "run 24 at 25" and adjust the pitch on the audio so no one knows it been sped uo.
Option B is you use a method that maintains the same run length by futzing with the frames to create new frames that may look good or not depending upon your level of critique and access to a still store to actually see what each frame looks like. Teranex will give you option B. And it will play smooth for the most part.
--- In Avid-L2@yahoogroups.com, David Dodson <davidadodson@...> wrote:
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> I've asked this question here before, but as now I'm getting close to rolling, I want to ask again in case opinions have evolved and/or mutated...
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> I'm directing (and cutting) a feature film and an eight-episode TV series that are shooting simultaneously on the Alexa. The TV show is an expanded version of the movie, but that's not important. What is important is that the TV show is for the PAL market. But of course the feature theatrical distribution will happen at 24fps, because this is a wide, mainstream movie that's going into a whole bunch of theaters.
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> Scenes from the TV show will be in the movie. Scenes from the movie will be in the TV show. So there's no way to say, "Oh, well, we'll just shoot movie scenes at 24fps and TV scenes in 25 fps!" because, as I said, it's one big orgy. So we have to choose a base frame rate and let one side of this party adjust to the other.
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> I'm leaning towards shooting everything at 24fps since it's the big screen feature image that will undergo the most visual scrutiny in large, unforgiving venues. The TV episodes will be most often viewed in SD, some HD, but still -- TV screens at home. Does this reasoning hold up? I would love people's thoughts on this.
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> And then of course, what about 23.98 vs. 24? Some post will be done in Los Angeles. But other post will be in Moscow. So, you know... kill me now.
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> Thanks,
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> David
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> David Dodson
> davidadodson@...
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