converting to 24p question

[Andrew Kramer]

Well,
You might be better off editing 25 fps then when your all finished, slow down to 24p and then distibute.

You should have no problem editing pal in premiere or working in AE.

Andrew

[Anonymous]

Well I am wondering will that make a BIG!! different in the look of the overall video??(converting to 24p in the end?

Is this something I should focus on or should I just still with pal and deinterlace it??

Everyones opinion welcomed:)

Thanks
Scott

[Mstleger]

If you shoot interlaced, I find it’s often best to keep the fields. No reason to deinterlace and throw away half your vertical resolution.
If you do convert to 24p, you will then need to introduce 3:2 pulldown when you go out to tape or dvd (assuming this is for distribution/broadcast in the U.S.). If not for U.S. Distribution, why not leave it PAL? Video will not really look like film just by changing the frame rate. For the film look, try adjusting levels, and light your shots well. (use a blue-gel light to bring out details in the shadows, otherwise you will lose detail when you adjust the levels in AE. Hope this helps.

[Andrew Kramer]

Is the PAL interlaced footage?

Working in pal 50i you will need to deinterlace anyway, enless you want to keep it interaced which will be your biggest video giveaway.

Now depending on your output format ntsc or pal. you will need to convert accordingly if pal is fine then there is no need to convert to 24p, but deinterlacing, or by some mean eliminating the extra fields, your overall look will improve.

Andrew

[Anonymous]

yeah it is going to be aired in pal

Scott

[Anonymous]

Yeah this is what I was thinking also. I am staying pal at first but I think I might still deinterlace cause I don’t like the
the movement that video has.

Scott

[Mstleger]

The obvious solution- why not rent a 24p camera for the shoot?

[Peter Litwinowicz]

I actually think the shooting 25p is the answer. Then you don’ t have any problems with converting the 24p to 25p for broadcast.

Also, if you con’t have access to a true 25p camera (make sure your camera doesn’t just deinterlace for you when you ask for 25p and that it actually shoots 25p), then I would suggest deinterlacing and perhaps adding some motion blur using our ReelSmart Motion Blur plugin. Yes, this is product placement, but I also believe this is the “right” answer… in that you can compensate for the lack of motion blur that often happens with a video camera. By doing this, the resulting footage can look much more film-like (of course, I’m ignoring the color differences of film and video, since the topic of motion is how this discussion started).

Take a look at our “film look” FAQ here: https://www.revisionfx.com/generalfaqsfilmlook.htm Skip the discussion about converting 60i to 24p, since that is mostly irrelevant since you are working in PAL.

Pete
https://www.revisionfx.com

[Filip Vandueren]

I agree that you should find a camera that does true 25P as opposed to just throwing away a field in hardware.

Then again, if I have to choose between throwing away a field, thus sacrificing vertical res. or keeping 50i interlaced video…

I’ll go for fake 25P any day.

I’ve really had arguments with music video editors in the past who just wouldn’t do it.
They wanted to keep the 50i… “because it’s sharper”
But hey: we’re not making the 8 o’ clock news, we’re making a music video…. 😎

It doesn’t hurt to have the best method of ‘throwing away’ you can get, and reelsmart certainly is a good option.

BTW: working in PAL it can become very confusing to hear all those 24P stories from the NTSC world flying around, and how “Pulldown-ing” that is supposed to be the holy grail of fake Filmlook.
Truth is, in PAL, practically all 24P (film stock) stuff is just sped up to conform to 25 fps.
So there’s no harm in shooting 25 instead of 24, au contraire, I would say it’s better to shoot 25 if you know you’re going to PAL.

[Josh Miller]

What is your final broadcast location? Broadcast TV? HDTV? Film? If your making it for broadcast PAL TV, it will have to be 50i anyway to broadcast it.

It’s better to film in 25 progressive if you plan on converting to 24 full frames, as shooting on 50i and de-interlacing it to 25p and then converting it to 24p will give you a whole lot more of headaches.

Josh M