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Feature Film- Cinealta Questions
Hello there, I had some basic 24p questions and was kind of hoping you might be able to help with them or at least guide me in the right direction.
1) I am shooting a major feature film with the Cinealta F900. There is a very good possibility I will have a theatrical release (part of a deal I got from my last film).
My main concern is 24p versus 23.98p and the film-out . I am recording sound straight into the camera and post production has the ability to maintain everything in 24p.
In terms of work flow, which is better?
I can shoot both ways. But I’ve heard a lot of issues regarding pure 24p and post production workflow.
2) If I do choose to also record audio separately (through DAT tape), at 24p and at 23.98, what would be the speed of the DAT player?
3) The Drop frame and non drop frame setting…..in 24P and in 23.98, what would be the setting.
and finally, (excuse the simple questions, I mostly shoot film)
4) My Miranda downconverter. Will it downconvert to 29.97 NTSC so I can see the picture in my regular portable monitor if I shoot in 24P pure, not 23.97?
Thanks
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2 Replies
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The simple answer is: forget about “24”. You always want to set the camera to 23.97 (and refer to it as 24 as everyone else does). This is to accomodate the need to convert it and display it and sound edit in the conventional 29.97 world of NTSC. Until such time as NTSC is eliminated from our world there will be no need to use the actual “hard” 24 fps setting. Sony put it in the camera in case the camera lasts that long (which I assure you it will not).
As regards the Miranda, yes, as long as you shoot 23.97 it will convert it for display (with sound in sync) as downconvert on a conventional NTSC monitor. That downconversion itself however may be “delayed” a frame or two to accomodate the computation required, but it should have no practical effect as you probably will not be using the image to operate the camera (unless of course you use the downconvert for a steadycam viewfinder).
The DAT recorder should be set at 29.97, because again, that will be the speed at which your downconverts for editing will be.
Shooting at 24 (now you know I mean 23.97) precludes the use of drop frame code; at this speed the TC defaults to non-drop-frame.
During production I hope that you will be monitoring with a proper HD monitor, either a professional HD CRT or a corrected LCD like the eCinema DCM23 display, otherwise you will be operating blind in turms of color, focus and exposure.
The F900 is an excellent choice for this purpose (shooting feature films for film out) but it’s highly advisable to employ the services of a qualified DIT to manage the camera settings and extra monitoring that is required, in addition to the camera assistant’s duties, especially if, as you mention, you are mostly a “film guy”. This 24 fps issue is just one of many that require the proper advisement in real time.
Good luck,
JS
JS
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Take a look at the Fostex PD6 digital audio recorder/mixer. I believe that it can record TC at 23.976. I always edit at 23.976…my NLE removes the extra pulldown frames, as I imagine your’s will too. Hope that helps for part of your question.
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