That's the only reason drop-frame even exists! With At Using drop-frame timecode with My original statement was intended to say that the It's used all the time for sound recording when the camera is running at 24fps. This keeps them in sync when telecine runs the film at However, the "mess" is really not much of a mess anymore, particularly in terms of post production.
Since nearly all sound houses use video masters, the use of In fact, it would probably create even more of a mess if it were abandoned at this point. Right, of course, I wasn't thinking audio here but in the context of a program.
As you said, both the film and audio get slowed-down to NTSC rates and it all works. It's an artifice, really, to make it all jive in the NTSC world.
Without the slowdown using NDF in a The fact that we figured out how to use it doesn't mean that it isn't a mess. Just like the interlaced-vs-progressive issue. I feel pretty strongly that both interlaced, fractional frame rates and NDF timecode need to die and find a nice warm place in a museum somewhere. But, that's another topic. Interesting idea.
Quite feasible too. Of course it means throwing out the quazillion TV sets in the US and elsewhere, changing all the transmitters, repeaters, satellites, ground stations, most cameras etc. Did I leave anything out? Of course, our ancestors should've standardized the whole world properly, starting with alternating current frequency, voltage, making PAL standard, motion picture fps and have foreseen the difficulties with DV.
Did I leave something out? Robert, Michael didn't say that, I did. You are exaggerating a bit. You know that industrious individuals always come up with ways to deal with change.
Besides, "all" is a bit extreme. Most satellites, for example, use packaged digital transmission operating in the 10 to 20 GHz bands.
Debated for about ten years. It started as an analog system and then became digital with terrestrial delivery. The infrastructure will be blown-up and replaced no matter what. When we talk about a frame rate, a true Frame is a full raster of video.
It includes every line. Interlaced video doesn't do this all at once, but in two Fields. All of that is fine and dandy, until you realize that some manufacturers don't really adhere to this long standing convention in their specs. Some just go by a field rate and call it a frame rate. Which is wrong, confusing, dishonest, and makes things seem stupid. But then you throw your footage into Adobe Premiere, and you will need to set your sequence settings up to The biggest hassle isn't that some people are using the wrong terminology, it is that you don't always know for certain when they actually mean frames and when they mean fields.
Stupidity at its finest. Jack points out that "High framerate has a very distinct look that people tend not to like". I would speculate that he is talking about Or he is properly going by the interlaced But I suspect the former. If you are progressive scan, i would recommend Thu Mar 15, pm Thanks Scott! That is a lot of good and helpful info! Scott Smith wrote: there is a lot of gear out there that shorthands Thu Mar 15, pm Scott Smith wrote: Jack points out that "High framerate has a very distinct look that people tend not to like".
Thu Mar 15, pm Scott Smith wrote: I would speculate that he is talking about Thu Mar 15, pm He never used the p that I see. He never specified interlaced or progressive. If he wants to make sure he is doing a good format for long term use, p A lot of stuff must use i or p. Thu Mar 15, pm So, to be clear, you not only should choose a frame rate, but a resolution and whether it is progressive or interlaced.
Should you choose anything higher than i Thu Mar 15, pm Just saw your response. Yeah, you will probably need more than 3G-SDI stuff for that high res stuff. Thu Mar 15, pm I am not the person to ask about specific stuff related to live switched productions of 4K video.
I love 4K for offline produced stuff. But live 4K requires significant infrastructure changes for anyone who already has a large working studio. But generally, I stick with my asssertion that Heck, I like it a lot better than i So I retract my earlier comment on that.
What I do personally hate with a passion is 24p video. Your email address will not be published. Notify me of follow-up comments by email. Notify me of new posts by email.
Our mission at BorrowLenses is to advance photographic and cinematic dreams by providing access to superior, cutting-edge gear and expert advice. Ready to get to work? Order from your desk, have gear delivered to your door, and take on your next project. Movie theaters almost always use this frame rate. Many high definition formats can record and play back video at this rate, though This number is sometimes inaccurately referred to as 30 FPS.
However, this format is almost never used today. Some i HD cameras can record at this frame rate. It is also the interlaced field rate of NTSC video. This number is sometimes referred to as 60 FPS but it is best to use Today it is still very rare to use a frame rate of 30 FPS but very common to use When in doubt, ask people to clarify whether they really mean 30 FPS or if they are simple rounding She has gone on to work as a freelance 1st camera assistant under award-winning directors of photography and continues to crew on high production films and commercials.
David Graeme-Baker says:. November 4, at am. Patrick Kirst says:. September 18, at pm. Eduardo P. Gomez says:. April 30, at pm.
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