Was told NOT to shoot in 24p. Then why why 24p at all?

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EnnioMorricone24

New member
Hi All,

What speed should I shoot at to get the best quality? Eventually, the final product will be on the theatre screen. I thought starting out at 24p would be ideal but it is not, supposedly. Because you lose quality in 24p then the transfer to film, if necessary, there is more quality loss there. Basically, I want to shoot a film, copy to DVD or Blue Ray, and have it procted on the big sreen or just convert 24 p or whatever speed to 35mm film.

Also, does HD from the HVX200 really matter that much?

What do you guys think?

Thanks

Enn
 
24pA loses now quality. 24p is going to give you a better image because it's progressive and editing programs can remove the redundant frames giveing you a true 24 frames a second for film blow up.

If you really wanna project though, the HVX200 is gonna be a better camera to go with. Its higher resolution translates better to the big screen (duh) and it's also got more lattitude, more color resoltion, and a bunch of other visual pluses that will give you a better looking film.
 
I don't know if I am entirely off base here, but I was under the impression that filming in hd was a horse of a different color entirely. Wouldn't it give less of a traditional film look because of it's higher relolution?(not speaking from hd experience)
 
Film has an enormously greater resolution than standard resolution video. Thus, HD footage gets you closer to film resolution. Film runs at 24 frames a second, which has a specific look - especially for medium to fast motion and, thus, shooting at 24P comes closer to that look. If you want to get as close as possible to "film look" you want to shoot at as high a resolution as you can and shoot at 24P. I haven't even discussed the issue of depth of field, which is another element that people associate with "film look." This whole area of discussion is nicely handled in Barry's books, by the way, as well as in other threads here in the forum.
 
I know this sound crazy...but the source is trustworthy

I know this sound crazy...but the source is trustworthy

John_Hudson said:
Who told you such nonsense ?

24p is the way to go yo.

(Good luck getting that thing on the big screen)
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I know, I know. The thing is that the source is trustworthy and the person knows his stuff. I am assuming. Or is he just f****** with me? Anyway, so what I am hearing is to shoot in 24p. Will the DVX100B in 24p transfer to the big screen ok? Quality wise?Does anyone know movies out today that were filmed primarily with Panasonic DVX100 or HVX200 cameras?
 
EnnioMorricone24 said:
I know, I know. The thing is that the source is trustworthy and the person knows his stuff. I am assuming.
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Whoever told you that is either misinformed or something, because the info is just plain wrong.

24P is the only mode to shoot for a filmlike project. InDigEnt is a company formed to make movies on digital video camcorders; they originally started with the PD150 but they ditched it and replaced it with DVX100's.

Anyway, so what I am hearing is to shoot in 24p.
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For a filmlike look, and for blowing up to film, absolutely yes.

Will the DVX100B in 24p transfer to the big screen ok? Quality wise?
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Yes, it'll do an acceptable job. There were five films in the theater last year that were shot on the DVX (Lonesome Jim, The Aristocrats, 9 Songs, Murderball, and November at least).

Does anyone know movies out today that were filmed primarily with Panasonic DVX100 or HVX200 cameras?
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Don't think there are any video-originated films in the theaters right this minute, but there have been many DVX films and there will be many HVX films soon.
 
DavidBeier said:
24pA loses now quality. 24p is going to give you a better image because it's progressive and editing programs can remove the redundant frames giveing you a true 24 frames a second for film blow up.
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It's the other way around, David. 24Pa is the one whose cadence makes sure that you don't have reassemble a progressive frame across cadences.

2:3:3:2
(24Pa - or 24P advanced)

aa bb bc cc dd - Your editor will drop the bc frame, and viola progressive.

2:3
(24P - or 24P standard)

aa bb bc cd dd - In this case you have to go into Cinema Tools, and reassemble the cc frame across two frames if you're wanting to edit to on a 24P timelne. Otherwise just leave it, and edit 29.97.

Please see your manual if you think I'm mistaken.
 
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Hang on Hang on! Lets pull the horses up for just a second.

You edit 24p on a 29.97 timeline

You edit 24PA on a 23.97 timeline

For filmout 24PA is the right choice correct? Or am I dilussional at this early morning hour?
 
ncje said:
Hang on Hang on! Lets pull the horses up for just a second.

You edit 24p on a 29.97 timeline

You edit 24PA on a 23.97 timeline

For filmout 24PA is the right choice correct? Or am I dilussional at this early morning hour?
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youcan cut 24p on a 23.97 time line too. and it looks perfectly fine. ( vegas anyway)
 
And you can transfer 24p to film too and it'll work just fine.

24PA is for editing on a 24p timeline.

24P mode is for when you're not editing on a 24p timeline.
 
Duct Tape Films, I wasn't trying to make a distinction between 24p and 24pA. I just didn't write the A each time. Avid Xpress Pro supports either mode on a 23.976 timeline. You just chose where you want regular pull down or advanced.
 
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