Dave,
You're right. When I said it was converted to 30p, I left out that the 30p is shown at 60p by showing each frame twice, just as the projectors in theaters show each frame of a 24fps film twice to make it 48fps. This reduces flicker.
You're also correct in saying that editing 24p on 29.97 is not the ideal solution. However, for those of us working under limitations imposed by the tools available to us, it does give "satisfactory" results.
Something else: When I started out, I shot nearly everything in 24pA and then edited on the 29.97 timeline in Premiere Elements. My reasoning was that if I should ever be able to edit on 23.97, I could go back and recapture and re-edit my tapes. I, personally, can tell very little difference between 24p and 24pA when viewed on a DVD. However, an unexpected problem seems to have arisen. Last fall, the university where I am working on a Master of Arts in Media Studies replaced all of their projection systems and, for some reason (with the exception of a couple of shorts shot with a Panasonic PV GS320), nothing I shot last year will play. Anything I shoot in 24p and edit on 29.97 will play perfectly with very good image quality, even on a full-sized, theatrical screen. But the projection equipment we have now cannot even read the DVDs made from my earlier (24pA) stuff. Because of this, I am now shooting all my school stuff in 24p. Also, the new equipment seems to be 4:3 only and anything shot in squeeze looks "shmooshed". So, I now have to shoot my school projects in letterbox mode so they will project properly.
As I told someone else, I shot "13" in 24pA and "The Harmonica" in 24p. Both were edited on 29.97. "The Harmonica" will show on the new projectors (although shmooshed) and "13" will not.
Oh, and a bit of advice to anyone shooting in squeeze: make sure the you have your vertical detail freguency set to THIN. I shot "13" before I knew this and the V. Detail Freg. was set at THICK. This resulted in a somewhat softer image when projected on a big screen. Not too bad, but it's there.
Shooting in the 24fps progressive modes does, indeed, present some challenges if you have to edit on 29.97, but they aren't insurmountable.
You're right. When I said it was converted to 30p, I left out that the 30p is shown at 60p by showing each frame twice, just as the projectors in theaters show each frame of a 24fps film twice to make it 48fps. This reduces flicker.
You're also correct in saying that editing 24p on 29.97 is not the ideal solution. However, for those of us working under limitations imposed by the tools available to us, it does give "satisfactory" results.
Something else: When I started out, I shot nearly everything in 24pA and then edited on the 29.97 timeline in Premiere Elements. My reasoning was that if I should ever be able to edit on 23.97, I could go back and recapture and re-edit my tapes. I, personally, can tell very little difference between 24p and 24pA when viewed on a DVD. However, an unexpected problem seems to have arisen. Last fall, the university where I am working on a Master of Arts in Media Studies replaced all of their projection systems and, for some reason (with the exception of a couple of shorts shot with a Panasonic PV GS320), nothing I shot last year will play. Anything I shoot in 24p and edit on 29.97 will play perfectly with very good image quality, even on a full-sized, theatrical screen. But the projection equipment we have now cannot even read the DVDs made from my earlier (24pA) stuff. Because of this, I am now shooting all my school stuff in 24p. Also, the new equipment seems to be 4:3 only and anything shot in squeeze looks "shmooshed". So, I now have to shoot my school projects in letterbox mode so they will project properly.
As I told someone else, I shot "13" in 24pA and "The Harmonica" in 24p. Both were edited on 29.97. "The Harmonica" will show on the new projectors (although shmooshed) and "13" will not.
Oh, and a bit of advice to anyone shooting in squeeze: make sure the you have your vertical detail freguency set to THIN. I shot "13" before I knew this and the V. Detail Freg. was set at THICK. This resulted in a somewhat softer image when projected on a big screen. Not too bad, but it's there.
Shooting in the 24fps progressive modes does, indeed, present some challenges if you have to edit on 29.97, but they aren't insurmountable.
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