You got me thinking. Slowing down 25 to 24 will cause a slow down of 24/25 right? What if you have the actors act 25/24 times faster? Then they'd be at the right speed for the theatrical and just seem a little twitchy for TV. Depending on casting maybe they could even speak with the proper pitch offset. ;-) Or then again maybe I should just stick to hot dogs.
--- In Avid-L2@yahoogroups.com, "Tony Quinsee-Jover" <tony@...> wrote:
>
> " Option A is the sped up PAL approach. This is the "run 24 at 25" "
>
> Or, the slowed down PAL approach. This is the "run 25 at 24" for the
> film-out.
>
> It really makes little difference either way. I've done both. SD
> monitoring is easier at 25Fps, so my preference is always 25 for when the
> client says "Can I see it on a TV?".
>
> Don't go anywhere near 23.976.
>
> Tony
>
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