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

Don't forget:  Standards are great - that's why there's so many of them.

On Jul 28, 2020, at 1:25 PM, David Baud <david.baud@gmail.com> wrote:

Nope. 24fps playback for film even in Europe. 25fps is for television (PAL/SECAM) based on the common power supply which is 50Hz.

David Baud

Colorist & Finishing Editor

david at kosmos-productions.com

On Jul 28, 2020, at 11:13 AM, Sol Fischler via groups.io <sol.fischler=yahoo.com@groups.io> wrote:

Anybody remember film?  You had two choices -- 24 fps, and, well, 24 fps.

25 for my friends across the pond, and I still don't understand why...

-- Sol

-------------------------------------------------

Sol Fischler

Editor: Image & Sound

914-525-2579

www.solfischler.com

On Tuesday, July 28, 2020, 12:23:46 PM EDT, hoplist <hoplist@hillmanncarr.com> wrote:

Are we still doing this? This is so depressing. There are perfectly good reasons to shoot 30 and perfectly good reasons to shoot 24. And what's with the pissing match about frame rate precision? We all know what you mean!

Guess what, I'm shooting 60 when I can. Nyah, nyah. That's 30+ frame better than all-you-all. If you shoot 24 for me, I will be pissed. If you think 30 is the wrong "look," okay Boomer. 

In recognition of my European friends, if I was shooting for the international market, then of course I would shoot 24 or maybe 48 or maybe 60. By the way, how does a 60 to 24 reverse pull-down look? I haven't tried that.

Sure, we should have one standard, but we don't.

Yours in diversity,

                  tod

Tod Hopkins
Hillmann & Carr Inc.

On Jul 28, 2020, at 10:07 AM, Mark B via groups.io <eatapc=me.com@groups.io> wrote:

Spot on, Mark: "If you're shooting at 29.97, it is for a 'live' look, otherwise, it would behoove you to shoot 23.976p because it holds up better for broadcast and streaming and web and everywhere else."

Whenever a director contacts me about a project, I bring up shooting specs. The way I put it (to make it as scary as possible): Please shoot at 23.98 unless you want your footage to look like a soap opera. They never do. (The next issue that comes up is about shooting in log, but that's another rant.)

Wilson's advice to record "in the field as DNxHD 145," thereby avoiding all transcoding, is an interesting idea and useful for his workflow, but having to transcode footage is not in my list of "Top Ten Things Shooters Do That Create Headaches in Post."