- July 9, 2012 at 10:23 pm
Hope someone can help.
I am shooting the forthcoming British Golf Open for an American network. I will be shooting on four consecutive days with my EX3. Each day I am required to edit a 2 minute piece and upload to a host using FTP software for their website.
After the event my client has requested that I deliver them all the raw footage by external hard drive for their use in the future – which could include use for broadcast purposes.
Being based in the UK, I would always normally shoot in PAL 1080 25p for website purposes but as this is for a US company should I be shooting in NTSC? And if so, will I still be able to access and edit it in the UK for daily delivery.
I’m a little confused, please can some one advise. Many thanks
- July 9, 2012 at 11:21 pm
They really need to tell you what they want. If you make a wrong assumption without asking, then you take the blame.
If you’re only delivering to web, the web and viewers aren’t impacted by frame rate. Anyone can play 25p or 29.97 on the web. If they’re going to use for broadcast and you’re only delivering to web you could shoot 29.97. If you’ll both be using it for broadcast 24p is the closest to universal since it can be speed changed for 25p and pulldown added for 29.97.
- July 10, 2012 at 4:06 am
ask them foe sure.. sometimes like getting blood from a stone as the person you are dealing with often has no idea what your talking about but don’t want to let on.. 🙂 better still ask to speak/email directly to the editor.. thats the one person who will know ..
Page one..cover your arse.. its their call not yours..
- July 14, 2012 at 8:13 pm
It is for sure that filming Golf in 24 fps would make a bad result. You need to record in higher framerates like a 1920×1090 interlaced format 29,97. If your customer is from the US – record in a US format.
- July 14, 2012 at 8:27 pm
29.97 is not an interlaced format, it is either progressive or PsF. the only interlaced framerates are 59.97(aka 60i) in NTSC and 50i in PAL land.
29.97P is however an ideal format for the internet, with smooth motion and repeated fields that allow slo compression schemes to keep up.
As far as what frame rate to shoot, it is not really the camera-persons choice, although he or she should be capable of explaining the choices and offering a suggestion to a technically-challenged producer.
Ultimately, especially is there is confussion, consultation with the editor or post-production supervisor is universally the best policy (if possible) as this will preclude any blame falling on the camera crew.
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