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shoot 25fps or 29.97 for delivery in both formats?
Hi,
I normally work in a 25fps world. I have just been booked on a multicam shoot that needs to be delivered for broadcast in both the Uk and US. My question is what should standard should we shoot on? We’ll be shooting 1080 with mainly EX3s and possibly one or two 7Ds and when the master is compete we’ll be using a hardware solution to convert, delivering 1080p masters (although this is not certain as yet – would it make any difference if we were delivering SD masters?)
My first question is: does one standard convert to the other with better results, or as someone has suggested, should we shoot 23.98, beacuse this gives better results to both standards.
Also my director wants to shoot progressive, but I’ve always been taught that one gets far better standard conversions results when working from an interlaced master. Does anyone know if this is the case and how significant the gains are? Also are there any software or hardware solutions which would allow us to interlace a master before conversion which would get around the problem?
Thanks in advance
s.
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3 Replies
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I’d suggest shooting at 23.98 – a slight increase of speed to 25 and traditional 3:2 technique to make it 29.97.
That’s the way an Avid Symphony handles it.
Best,
Jeff G
Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com -
where are you shooting ? and are you using any lighting other than available? That would be the first determining factor. Regarding progressive vs interlaced, film is progressive and has had a reasonable run as a format from which world markets have been served.
Being I work in a fractional framerate part of the world I regard 23.98 Psf as the “God” format from which to generate all others.
Here is a discussion regarding shutter and frame rates you might find helpful
https://reduser.net/forum/archive/index.php/t-32073.htmlDoug Beal
Editor / Engineer
Rock Creative Images
Nashville TN -
Hi Doug & jeff
Thanks for your response.
The shoot is of a pop gig in a decent sized venue, with pretty high end lighting. The director will have input into what the lighting guy does and it will, I suspect, be pretty varied track by track and with alot of bright colours and possibly quite strobey.
I read the link you posted and it was fascinating to get a mechanical handle on all these number we bandy about in the digital world, but it didn’t seem to explain to me exactly whats involved converting from one framerate to another
But if I understand you both correctly, you’re suggesting that we shoot 23.98 progressive. Get FCP to treat this as PSF (simply by changing the masterclip property to interlaced and working in an interlaced seq, right?)
I’ll then cut in FCP natively at 23.98, layoff a 23.98 interlced master to HDCAM, and then send it to a duplication house to run through an Alchemist to get my 29.97 and 25fps masters.
And if I understand rightly, because the maths involved between 23.98 and 25 and 23.98 and 29.98 is simpler than 25 to 29.98 I should get best results.
I suppose my other question would be, if I’m going to use an alchemist, will it actually make that much difference? Or will the Alchemist do near perfect standards conversions between any formats?
Thanks again
s.
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