24P vs 30P etc

[pat@hpnc.com]

Hi I have question for all you experts. For shooting a project in in SD that will be for DVD and TV around the world and wanting a "movie" look is 24P the best way to go?

Thanks in advance for any help.

[PaulClements]

There is more to the look of the movie than the fps but 24P wouldn't be a bad place to start. If it's going to be on TV then interpolation will fill the gaps to expand the fps to fit which ever format. It'll likely play at slightly different speeds if I'm right... I'm no expert on this kind of stuff though, so hopefully someone can chime in and give you a better answer (And correct me if I'm completely wrong!:))

[pat@hpnc.com]

Dont get me wrong I was not implying 24P was all there is to a feature film look:) But only in this context of what framerate to shoot.

And from the more research I have been doing this evening I think you are correct and 24P is the way to go.

But then again I could also be completely wrong;)

[ColinSmith]

Well 24p will certianly convert to PAL a whole lot easier than 30p, if that is a consideration.

[Stuart English]

Yes, shoot it at 24 fps - that way the NTSC product is achieved with a 2:3 pulldown and the PAL product is achieved with a 4% speed increase. This is the technique that Hollywood uses for episodic TV programming - which is sold worldwide, hence they had to work out the best workflow to do just this.

[pat@hpnc.com]

Thanks for the advice Stuart. It goes along exactly with what I had been reading this morning. Also from what I can tell you can output directly to DVD in 24P for a better quality DVD.

[J. Bernard Vallon]

I think the best/cheepest way to go to get a cinema look out of video is with a 35mm adapter. DOF is everything in cinema.

[Michael Schrengohst]

I think the best/cheepest way to go to get a cinema look out of video is with a 35mm adapter. DOF is everything in cinema.

This is the biggest reason I am going RED. I have used various adapters with
the 1/3" HD cameras and have been disappointed.
I have been a stills photographer for 30 years and a DP for 20 years.
I cannot wait to get some real lenses on a RED.

[Michael Hastings]

Yes, shoot it at 24 fps - that way the NTSC product is achieved with a 2:3 pulldown and the PAL product is achieved with a 4% speed increase. This is the technique that Hollywood uses for episodic TV programming - which is sold worldwide, hence they had to work out the best workflow to do just this.

Stuart: I wondered about this when we recently got a Sony HVR-V1 - which does 24p and 30p - to tide us over for some underwater and other shoots until RED 206 is available. I suggested that we shoot everything in 30p which would provide us the best temporal resolution. My thinking was we could do reverse pulldown for 24p, have 30 frames for better slow, etc.

I haven't done that much editing since my linear days, so how much of a hassle is it do the reverse pulldown? Could you/anyone critique this approach in terms of benefits/problems?

[Stuart English]

Well one thing to check is - is it 30p or 60i ?

[Poi Boy]

I shoot a lot of hvx with an adapter; with this particular set up I find it much better to shoot 30P. I never have to go to pal, if that is a consideration then I would go 24P.
Aloha
-A