1280x1080@24p or 1440x1080@25p?
- Thread starter Emanuel
- Start date
Emanuel said:
Emanuel, I believe you'll get the "normal"answers of "don't bother getting a NTSC camera on a Pal territory", or "Don't forget distribution on DVD, it's a pain to convert from 24 to 25P and not worth the difference", or even "You can't use your SD DVCPRO features fully with an NTSC model"...
However, bare in Mind that if you are editing on a Mac or are planning to go that route (I know you are on a PC system right now
) , there's no 720P25 dvcpro support, so, for Variable frame rates, the only support you get is with 720P24. Again, I believe that, for HD ONLY production, get the NTSC model. For SD production and HD capability (with inferior support and less features), go for PAL.
Daniel Skubal
Veteran
SPZ said:Emanuel, I believe you'll get the "normal"answers of "don't bother getting a NTSC camera on a Pal territory", or "Don't forget distribution on DVD, it's a pain to convert from 24 to 25P and not worth the difference", or even "You can't use your SD DVCPRO features fully with an NTSC model"...
However, bare in Mind that if you are editing on a Mac or are planning to go that route (I know you are on a PC system right now
LOL That is amazing. I can tell you read the forums for a LONG time before you ever started posting here.
Alex Leith
Well-known member
SPZ said:However, bare in Mind that if you are editing on a Mac or are planning to go that route (I know you are on a PC system right now
What do people in Europe who shoot with the Varicam do at the moment?
Not edit with FCP?
Come on Apple, lets get some 720p 50Hz support in FCP...
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Oh wait... the Varicam records everything into a 60p stream doesn't it...
Alex Leith
Well-known member
Emanuel said:
I think your choice has to be realistic about who your main audience really is. Is it genuinely going to be a 50/50 split into PAL & NTSC regions? Are you going to use it for other work in SD PAL or NTSC that could influence the choice?
Technically it is possible (FCP limitations allowing) to work in either 25p or 24p and conform, but it's time consuming in post. And 24p and 30p are a pain to edit if you're used to 25p... especially because they're really 29.97, etc. (hey why am I missing frames ;-)
Plus in Europe, if you want to do any SD rushes or approval copies (for funders & backers etc.) then you really need to be working in 25p/50i.
Personally, although I'm very tempted by a quick hop across the pond to get a HVX200P, I think an HVX200E is the more sensible choice!
I posed the original question @ DVinfo, and I think it's very tough choice - especially if you anticipate a lot of post-production work.
1080p25 has higher resolution, better chroma sampling and is marginally less-compressed. Especially for film-out purposes, it's hard to believe that the 1080p25 wouldn't have the edge in final quality.
It's too bad the DVCPRO-HD standard was set the way it was - with 100 Mbps devoted to 24 discrete frames, you really could get the most out of what the camera head has to offer. Further evidence that 24P is an afterthought or low on the totem pole in the majority of these cases.
-Spiff
1080p25 has higher resolution, better chroma sampling and is marginally less-compressed. Especially for film-out purposes, it's hard to believe that the 1080p25 wouldn't have the edge in final quality.
It's too bad the DVCPRO-HD standard was set the way it was - with 100 Mbps devoted to 24 discrete frames, you really could get the most out of what the camera head has to offer. Further evidence that 24P is an afterthought or low on the totem pole in the majority of these cases.
-Spiff