So...23.976 or 24 - Audio anyone?

[Kenn Christenson]

I was wondering what the suggested frame rate would be for posting in FCP? I've done film transfer edits at 23.976 and then had to have the audio "sped up" to make the optical track for the film print.

My guess would be to shoot and post in 23.976 - because most projects will only be seen on video, anyway - and then if someone wants to have a print made go ahead and "speed up" the audio for that process.

Any thoughts from the experts out there.

[jbeale]

> optical track for the film print...

I'm not familiar with the current state of the art in film projection, but I thought film sound was pretty much all digital now? Are optical tracks still used much?

[donatello b]

IMO cinema is 24fps ...23.xxx/29.xx is video ...
shoot 24fps ... edit 24fps , mix 24fps ... then render out to whatever formats you need ...

[Kenn Christenson]

> optical track for the film print...

I'm not familiar with the current state of the art in film projection, but I thought film sound was pretty much all digital now? Are optical tracks still used much?

They're all optical - you just have the choice of digital or analog. And, yes I know there's different types of optical digital tracks.

[Kenn Christenson]

IMO cinema is 24fps ...23.xxx/29.xx is video ...
shoot 24fps ... edit 24fps , mix 24fps ... then render out to whatever formats you need ...
I'm looking at this from a productivity standpoint.

[Mark L. Pederson]

you can do either - but IMHO 23.98 is the way to - you don't need to change audio for 1080i (29.97) which is the HD broadcast standard and also the standard at film festivals - you only need to "pull up" the audio to 24fps if you go to motion picture film -

[Jeff Kilgroe]

I dunno... I see where originating in 24fps has its advantages as does 23.97. Depends on your targeted delivery. If you want film to be the primary distribution, 24p makes sense. If you're going direct to HD broadcast, then 23.97 may save you some headaches. OTOH, BluRay and HD-DVD actually support 24fps. Something to consider. I would almost advocate just doing 24fps and shifting to 23.97 if needed when you render out for delivery. If going to broadcast, 30p is also a good consideration, but then we're back to is 30fps better or is 29.97fps better. Hmmmm.....

[thomashopman]

> optical track for the film print...

I'm not familiar with the current state of the art in film projection, but I thought film sound was pretty much all digital now? Are optical tracks still used much?

In release prints usually all digital and analog audio is printed on the film. For DTS only the timecode is printed and a separate DTS player with special cd's is playing the actual audio. All other digital formats have the audio encoded to graphics printed on the film reel. The analog audio is always printed on the reel in case the DTS player breaks down. If the DTS-player loses signal it switches to the analog audio tracks (sound awful but you still have audio). The digital audio is spread over all available area's of the film real, between the sprockets, on the edges, between the analog tracks and the sprockets etc. Every format has its own place for the data to be printed.

[Jaime Vallés]

IMO cinema is 24fps ...23.xxx/29.xx is video ...
shoot 24fps ... edit 24fps , mix 24fps ... then render out to whatever formats you need ...

I agree completely. As long as whatever software is being used can handle 24p, that seems like the easiest way of keeping track of everything.