It's a real pickle. On my side of the biz (features) no one likes high frame rates. And I do movies in both the U.S. and Europe. Even in Russia the de facto frame rate for cinema is 24fps (often acquired at 23.98). And Peter Jackson's and Ang Lee's forays into high frame rates have been met with reactions ranging from "Meh" to downright hostility. At this moment in media time, people still like the motion blur that comes with 24fps acquisition. That doesn't mean it's right or great or better or worser. That's just the way it is.
On Jan 24, 2018, at 7:15 AM, tod hoplist@hillmanncarr.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:On Jan 23, 2018, at 3:01 PM, Greg Huson Greg@SecretHQ.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
he wants to satisfy UK/EU distributor with UHD, while still delivering HD in the USStill no "lingua franca" as far as frame rate. 29..97 in NTSC legacy countries and 25 in PAL legacy countries and no perfect path from one to the other.24fps advocates have argued for years that 24fps is the best origination choice for dual release because: it works for file/streaming and it translates well to 29.97interlaced with 3:2 pulldown and 25fps with slowdown, both standard practice for film.I master for 29.97p and 25p release, and I really hate 24p to 29.97p conversion (4:1 pulldown). So I hate this argument. If you are not making features (or web only) you are compromising everything. Pick one. More important, we are moving to a high frame rate world where 24fps is "low res."My preferred path for dual format is to shoot at the highest quality possible in the native format of my locations. That is, I should 60fps in the US and 50fps in Europe and mix in post, converting shot by shot. I conform to each target format independently. Why? Because shooting at 60fps in 50fps countries, or 60fps in 50fps countries is fraught with fraughtness. Also, people see conversion every day. It makes sense to the viewer that footage from across the pond looks different than footage from home.But this is only for a TRUE dual format production where, INMARSAT or the UN is my client. The truth is, there is almost always a primary format. The format of your client. You should shoot and master in THAT format, because that's the one they will care about most, and the format in which your work will be evaluated. Then convert that master for everyone else. We all see this conversion every day on television and we rarely notice. Don't sweat it.Cheers,tod
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Posted by: David Dodson <davaldod@gmail.com>
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