Do you prefer to shoot in 24p or 30p, and why?

F

filmguy123

Veteran
I think the topic says it all. I usually shoot 30p as it looks much better than 60i and works better for dynamic shots, without strobing. But I wonder how much of the filmic look I miss out on by doing this?
 
Depends on the project... I've shot stuff for people who normally shoot 60i... they say they want 24p... then they edit my footy in with theirs and I get a complaint about strobing... now for those clients, or for footage that will go to the web... I do 30p.

When I first got my DVX... it took me over a year to shoot anything more then short test clips in 24p... then I got into it and shot everything 24pa for DVD... and now I'm actually starting to gravitate back to 30p for "universal compatibility" without strobing.

24p or 24pa is GREAT when there's no chance of strobing... but it looks like sh*t when you get any strobe.

I hope you get more response... I'm curious if everybody is sticking with 24p or what... and I'm on an original DVX by the way... not sure if that matters.
 
Usually 24pa for everything except live concerts. Then it's 60i. But the last music video I did was 30p so I could include 60i for slomo and I was surprised how good it looked. I'll probably do some more experimenting with 30p now, it looks pretty darn good and nothing I do demands "the film look". Besides my abilities could probably make 35mm look like bad Hi 8......
 
ddp, you can use 60i for slowmotion in 24p, too. You interpret footage to do the field doubling, then convert to a 24p time base. And I think that even gives you 2.5x slo-motion.
 
So Matt & ddp, I thought 24pa was mainly for ifand when you intend to transfer to film...
Am I wrong?

If so, what IS the advantage of 24PA opposed to 24p?
 
GDV said:
So Matt & ddp, I thought 24pa was mainly for ifand when you intend to transfer to film...
Am I wrong?
Click to expand...

Yes. It's a persistent myth, despite all of our efforts here (we KNOW 24p), it doesn't seem to want to die. You should shoot 24pA any time you plan to edit in 24p.

And if you have 24p material, you should plan to edit in 24p every time, unless you also plan to mix it with other frame rates and want to keep the look of those other frame rates.
 
lately I've been shooting everything in 24pa, but for some live event coverage I stick with 60i unless the project calls for 24p
 
David Jimerson said:
Yes. It's a persistent myth, despite all of our efforts here (we KNOW 24p), it doesn't seem to want to die. You should shoot 24pA any time you plan to edit in 24p.

And if you have 24p material, you should plan to edit in 24p every time, unless you also plan to mix it with other frame rates and want to keep the look of those other frame rates.
Click to expand...

And if you edit in a 24p timeline you make 24p DVDs which means less frames so you can pack on more content.
 
filmguy123 said:
ddp, you can use 60i for slowmotion in 24p, too. You interpret footage to do the field doubling, then convert to a 24p time base. And I think that even gives you 2.5x slo-motion.
Click to expand...

So you slow 60i down 60% in a 24p timeline? Isn't that the math or is there more to the process?

Actually I needed the slomo for this video to be 50% so matching it to 30p regular footage my sense without me actually having to think it through but 2.5x in a 24p line might come in handy soon.
 
I was shooting weddings with my A1 and HV20 at 60i. The last one I shot 24p, I don't think I'll ever go back. I just think that the cinematic feel of 24p lends itself nicely to a wedding, and Twixtor does a great job of slowing down 24p footage.

I was never a big fan of 60i, until I got my XHA1. 60i in High definition looks really good. Like Matt said, it all depends on the project.
-Kevin
 
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