720 60p or 30p for slow motion with final output being 720 30p?

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digexpressions

Active member
I do a lot of slow motion in my highlight recap clips. I know 720 60p is better than 30p when doing slow motion. But what if the final project is rendered out as 720 30p? Does it make a difference? If 60p is still better, can somebody tell my why I would ever shoot in 30p?
 
just shoot in 60p and conform the clips you want for slow mo in cinema tools, and work in a 30p timeline. It will give you those really smooth frame accurate slow mo's.
 
digexpressions said:
Not sure what it would be slowed down to, but I plan to render the project using a 720 30p template. Is this not going to work?
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You asked: "720 60p or 30p for slow motion with final output being 720 30p?" Hence my question: how are you are planning to down 30p to 30p?
 
I think your question answered my question. I should be shooting in 60p since shooting in 30p would result in having less than 30p when slowed down.
 
digexpressions said:
Is there any benefit to shooting 30p when I could just put 60p on a 30p timeline?
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With 30p you can get up to twice more bandwitdh per frame than with 60p, meaning possibly cleaner image. Other than that, there are no benefits. You can shoot the whole thing at 60p and either drop it onto 30p timeline as is (you will lose every other frame, so what) or you can slow it down for 0.5 slow motion. 60p (or 60i for that matter) gives you more freedom.
 
I was thinking about this last night and had a few questions. When shooting film in 24p, how do they deal with slow motion? The slo mo in motion pictures looks pretty smooth. Do they shoot at higher frame rates for this?

If I understand correctly, 60i can be made into 30p by combining the fields. Can 30p become 60i by splitting the frames? Or does it not work that way? Trying to understand all of this. Thanks!
 
digexpressions said:
When shooting film in 24p, how do they deal with slow motion? The slo mo in motion pictures looks pretty smooth. Do they shoot at higher frame rates for this?
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Yes, always.

If I understand correctly, 60i can be made into 30p by combining the fields.
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Only sort of. You'll have motion artifacts if you do it that way. 60i can become 30p by discarding a field and interpolating the difference, but then you'll have lower-resolution imaging.

Can 30p become 60i by splitting the frames? Or does it not work that way?
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You can embed 30p within a 60i signal, but it'll still look like 30p. You can never match the motion signature of 60i from a 30p signal. You can try something like Twixtor, but I've had very spotty results with that.
 
digexpressions said:
I was thinking about this last night and had a few questions. When shooting film in 24p, how do they deal with slow motion? The slo mo in motion pictures looks pretty smooth.
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Yup.

What'll really blow your mind is how much light they have to add to some of these sequences to really get the slow mo effect...and things get even more complicated when they ramp slow-mo (although I don't know that they do it in camera.)

I'd recommend this article if you want to know more, there's some good stuff in there.

http://www.theasc.com/magazine_dynamic/April2009/Watchmen/page1.php

Top of page 2 there is some good stuff about slow mo and then there is some more later in the article I think.
 
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