24p Vs 60i

gaer42

gaer42

Member
I just recently shot a short film and hired my first professional crew. Normaly I shoot in 24p and then add extra effects in post in order to get that film look, and was planning on doing that on this project, however my DP recomended against it.

He has graduated from film school and told me that when shooting 60i that you achieve more information and that you can render the final out in 24p and achieve that same results.

Is this true? and if so then what is the real reason for 24p? a great marketing tool?
 
gaer42 said:
\

He has graduated from film school and told me that when shooting 60i that you achieve more information and that you can render the final out in 24p and achieve that same results.

Is this true? and if so then what is the real reason for 24p? a great marketing tool?
Click to expand...

What kind of film school did this DP go to? Shooting 60i and deinterlacing to 24p in post costs you time and resolution, and it's not quite perfect. Only time you would do this is for slow motion, in which case 60i is deinterlaced to 60p.
 
i wonder why people would even buy a 24p camera if that were the case? anyway.... your D.P. is quite in the wrong. cameras that have 24p capability actually gain some resolution when shooting progessive mode vs. interlaced mode. even if it didn't gain any resolution it would be worth the savings in post rendering times.
 
Besides, people that obsessed with "preserving options in post" don't seem to have learned the value of thorough pre-production and knowing what you want before you ever shoot a frame. You'd think the film school might have helped with that, too.
 
The XL2 is a progressive scan camera, the ideal mode would 24p 2.3 for video projection. You have options in post de-interlacing and plug-in to give 24p look. It is best in the future to map out the look and end medium you are looking for. There are samples of a variety looks you can obtain with an XL2 and almost all in camera.

www.bluebarnpictures.com
www.bluebarnpictures.com/blog

Cheers

Castillo
 
Huy Vu said:
The best option for editing actually would be 2:3:3:2 instead of 2:3.
Click to expand...
Huy

2:3:3:2 was put into the XL2 for use to dv to film blow up. However Duart in NY recommends 2:3. 2:3:3:2 when pulled down for 29.97 display, a strobe will appear which can be distracting to the viewers.
 
I have to disagree, Duart doesn't know everything.
2:3:3:2 is only going to strobe if you play back your tape directly to a monitor without removing the pulldown. But 2:3 is technically a generational loss. Best is to shoot 2:3:3:2 remove the pulldown in your NLE. This way you can output a 24P MPEG for DVD and alot more bandwith to each frame. The DVD player recognizes its a 24p dvd and plays it back properly. For web presentation you can output a 24p file which is going to save you bandwidth as well. With this workflow you can always add a pulldown if you want to go analog.
 
Yes, the general recommended procedure is to shoot 2:3:3:2 and edit in a 24p timeline. 2:3 require recompression of the file during editing. Any authoring program is capable of adding back those pulldown fields.
 
gaer42 said:
I just recently shot a short film and hired my first professional crew. Normaly I shoot in 24p and then add extra effects in post in order to get that film look, and was planning on doing that on this project, however my DP recomended against it.

He has graduated from film school and told me that when shooting 60i that you achieve more information and that you can render the final out in 24p and achieve that same results.

Is this true? and if so then what is the real reason for 24p? a great marketing tool?
Click to expand...

The only case in which I might actually agree with your DP is when using the Canon 24F cameras. Because they use interlaced sensors you could argue that a 24p conversion in post could be as succesful, however I believe more data is dedicated to each individual frame when shooting in 24f mode.
 
egproductions said:
The only case in which I might actually agree with your DP is when using the Canon 24F cameras. Because they use interlaced sensors you could argue that a 24p conversion in post could be as succesful, however I believe more data is dedicated to each individual frame when shooting in 24f mode.
Click to expand...

This is completely false as well. Various tests have indicated that vertical res loss from 24F mode is minimal and quite competitive with all current crop of HD cameras. In fact, the A1 is amongst the sharpest sub 10k HD camera on the market at the moment. When shot in 24p SD mode, resolution loss (if any) is completely unnoticeable.
 
What would be the best method, exact for setting up the XL2 camera for film like quality, with action scenes?

Exact Settings Please?
 
You must log in or register to reply here.
Back
Top