-
Opinion on 30p vs. 24p for new Project
-
[Borjis] “There is no reason to shoot 24PA unless you intend to print to film.”
Or if you inted to deliver on the internet…
More and more productions we deal with also go to the web (some entirely just for the web) and as a result, shooting in true 24p (i.e., not 60i with 3:2 pulldown, AKA 24pS) can be a huge benefit. The advantages are many…
– 24p (or 30p if you must) looks better on the computer screen than 60i or 24p over 60i (i.e., 24pS).
– Codecs don’t have to deal with interlacing, which can result in a better encode.
– If you must resize, you wont have to deal with interlacing.
– File sizes will be smaller which equals better bandwidth of course.And…
The same can also be said if you’re going to DVD.
True 24p isn’t just for film-outs anymore.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
-
[Marco Solorio] “- 24p (or 30p if you must) looks better on the computer screen than 60i or 24p over 60i (i.e., 24pS).
– Codecs don’t have to deal with interlacing, which can result in a better encode.
– If you must resize, you wont have to deal with interlacing.
– File sizes will be smaller which equals better bandwidth of course.”I’ve definitely heard this before…however, I did try to do a project in 24pA and had HUGE issues. I couldn’t get the workflow quite right. I ended up with cadence issues, judder and multiple other problems.
The idea of not having to deal with interlacing is very appealing.
What workflow do you use when you edit 24pA, going to web and DVD?
-
We typically work in two forms of 24p: 24pA or true non-cadence 24 FPS. I prefer 24pA when possibe (over 24pS) since it’s a lossless transfer where 24pS usually needs a re-encode to remove the pulldown. When we’re creating 3D, digital comps or anything from scratch, we do it in true 24p.
If you’re having problems with 24pA, you could try shooting in 24pS and removing the pulldown manually. The good thing is that 24p cameras place the A-frame on frames ending on zero and five, which makes it easy to dedect and apply the removal.
Once you figure out what 24p workflow works for you, the benefits will be worth it.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
-
[Marco Solorio] “If you’re having problems with 24pA, you could try shooting in 24pS and removing the pulldown manually.”
I’m thinking my cadence issues were a result of the 24pA format. With the Sony HVR-V1U it was my understanding that one of the main differences between the two formats was simply that 24pA starts every shot with the A frame. And from what you are saying, one is also cadence free?
Do you edit on FCP? Is there a workflow you have used with FCP and either of these formats that has worked better than others?
Also, are there pros and cons of 24pA vs 24p in regards to outputting on DVD, web, large screen projection, possible TV broadcast?
-
[KMimsey] “With the Sony HVR-V1U it was my understanding that one of the main differences between the two formats was simply that 24pA starts every shot with the A frame.”
Are you saying is places the A-frame on any frame when the record button is pressed? I know that Panasonic cameras always place the A-frame on a frame ending on zero or five. If the V1U places the A-frame on any frame when the record button is pressed, then that’s not only suprising, but a bad move on Sony’s part.
I helped out on a review with Adam Wilt a few months back on the V1U for DV Magazine. I have to say that I really like the camera even though I’m not a fan of the HDV format. I do edit in FCP, but I’ve never used V1U source footage in a real project. However people are using the camera with FCP so there must be a solution to your workflow.
When I refer to a cadence-free 24p format, I’m referring to creating 24p video files from scratch via CGI; 3D, digital compositing, etc. and not through a camera. There are only a very small handfull of [very expensive] digital cameras that can shoot in true cadence-free 24 FPS outside of a 60i “shell”.
[KMimsey] “Also, are there pros and cons of 24pA vs 24p in regards to outputting on DVD, web, large screen projection, possible TV broadcast?”
Understand that 24pA is the means to getting to 24p in a lossless fashion. Once the pulldown is flagged in FCP, it’s playing back in 24p. From there you can output the file to a true cadence-free 24p file, like a 24 FPS internet video stream or a 24p MPEG-2 file, etc.
The real question is, what are the pros and cons of shooting 24pA vs. 24pS. In a nutshell 24pA allows for a lossless transfer to 24p where 24pS typically requires a re-encode to get to 24p. However 24pS can be a “safety net” of sorts if you don’t intend on doing a reverse telecine on the footage but want the 24p look. There’s a ton of info on this if you search the Cow and Google.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
Reply to this Discussion! Login or Sign Up