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Re: Pix monitors on a film set

Is shooting locked to 29.97 a viable option here?  I've watched some DPs 
view the video assist as they adjust the camera variable angle shutter to 
eliminate the bar and monitor flicker. It worked quite well for their 
applications.  The telecine sessions went smoothly.  Of course if you 
have to deliver a 24fps cut negative, this is probably not viable.  


Craig Nichols                             __  __     ____  ___       ___ ____
craign at primenet.com                      /__)/__) / / / / /_  /\  / /_    /
"The grass is always greener on the     /  / \   / / / / /__ / \/  /__   /
other side of the fence, until you see all of the brown spots!"...My Dad. 

On Wed, 7 Jun 1995, Dave Corbitt wrote:

>                       Subject:                              Time:  1:10 PM
>   OFFICE MEMO         Pix monitors on a film set            Date:  6/7/95
> Here's a difficult one.  If a Video Monitor is part of the set during a film
> shoot and that monitor is displaying normal 60 field NTSC video and the film
> camera is recording 24 fps there is a very objectionable Shutter Bar recorded
> in the filmed image of the Video monitor.  I suppose if the shoot used PAL
> equipment for the video display and the film camera were set to 25 fps this
> would be minimized but what do you do when the client then wants to transfer
> his material in NTSC at 25 (24.98) fps with a PAL time code striped DAT as the
> Sync Sound and they want to create Flex Files for AVID also in NTSC?  Send
> those clients back to Production 101?  Any creative ideas on this?
> Just another average day around here.
> Dave Corbitt/MTE/NYC