What's wrong with 30p?

[tommygdawg]

Hey all,

So I've been playing with various hack settings and am liking what I'm seeing for motion jpg for some things. I've seen a lot of people complain about shooting in 30p and the myriad of steps to use for converting the footage 23.976. I'm just dropping my 30p (or in this case 24p) clips into a 23.976 timeline in Premiere Pro CS5 and everything is hunky dory. What's the problem with using motion jpg/30p and this method to attain 23.976 footage (or 24p for that matter) with 4:2:2 color space and pretty darn good resolution?


Thanks!
- Tommy

 

[Blackout]

If you like it - fine, but I can't stand the weird jumpiness that comes from dropping frames to make 30p into 24p. Horrible to me.... makes my eyes burn and is equivalent to a visual version of scratching nails on a chalkboard.

If you shoot 30p you might as well just stay 30p. If you want 24p shoot 24p.. don't try and convert. I mean, if you want to really phenominally waste your time you can, but I just don't see any advantage. I don't know what the big deal is about the mjpeg codec on the GH13 either to me it's ugly and high mbit avchd green screens just as fine. The advantage you might get from 4:2:2 color space is lost with more artifacting.

 

[tommygdawg]

But when you're doing greenscreen work with hacked AVCHD it automatically drops the bitrate low because of the lowered amount of detail due to the fact that all you're shooting essentially is a person and a big wall of green. How does this work well at all for greenscreen work? I recently shot some car footage with greenscreen and the green just clumps together between their fingers and anywhere there's small details. Depth of field really horses it up. And yes, it was an evenly lit screen with very little to no spill on the actors.