Re: [Avid-L2] 23.98 vs 24

Most of the time that should suffice, and true 24 would be fine. But every once in a while, even now, someone needs a review copy on DVD or Blu ray, and the 23.98 just makes it much easier on everyone's TV here in the U.S.. Believe me, these fractional frame rates, NTSC, all of it is annoying as all hell. You're right, it's 2015, what're we even talking about all this for? But here in the States we live with the legacy of the horrors of NTSC. Ugh.

DD



David Dodson
davidadodson@sbcglobal.net



> On Jun 24, 2015, at 10:22 AM, Job ter Burg (L2B) <Job_L2@terburg.com> wrote:
>
>
> FWIW, in Europe, we mostly do 24/24/24 for theatrical features. I don't really seen an issue anywhere in this day and age. You send 24fps QT files to sound editorial and music departments.
>
> On 21 jun. 2015, at 16:04, David Dodson davidadodson@sbcglobal.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
>
>> I'm about to start a feature, shooting on Alexa, on which the DP is advocating for shooting true 24, rather than the usual 23.98. All the digitally-shot movies I've ever done have been shot at 23.98, and not 24. But of course, the DP is jonesing for 24fps so he doesn't have to worry about certain lighting flicker issues.
>>
>> That said, are there any pot holes or hidden dangers in shooting and posting in true 24fps that anyone is aware of? As far as I can tell, the transcode would still use the same DNxHD flavor (in my case, DNxHD 115) whether it's 23.98 or 24. But I wanted to cast around for anyone who has actually cut and finished a movie shot at 24fps for a theatrically-released feature in case I'm overlooking anything.
>>
>> Thanks,
>>
>> DD
>



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