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Films exposed at 23.98 fps

Edited e-mails between David L. Tosh (Complete Post, Hollywood) and  =
JPB (Aaton):

< JPB:
<Was the film camera running at 23.98 fps or is it the normal 24fps =
<transfered on NTSC 29.97 drop frame ?

>The film was shot at 24fps, transfer at 23.98 for the standard practice
>of NTSC pulldown in telecine. 
>Exposure at 23.98 is possible in theory but rare in practice
>as it confuses the audio recording people. We tend to make
>things as simple as possible for the production people and take on the
>burden of handling the complications in postproduction.

<Shooting film at 23.98 is a long sought after filmmakers' dream when
<they have to shoot films in which they don't want to see rolling =
bars on 
<video monitors in the field (e.g. music videos), or when they ask for
< a perfect correlation between film and color video-assist images =
with real 
<time insertion,  which is now close to become common practice.  
<For this reason we had to incorporate, in our latest cameras, a =
<to handle 23.98 fps timecode recording with some sort of drop frame.
<For this reason too, Keylink new V6.0 software handles the timecode =
of 23.98 fps exposed
<films transfered to NTSC with 0.=94 pitch shift.  
<If the 23.98 film camera time code is REAL TIME (no drift), 
<exposure at 23.98 should no longer put a burden on the sound =
recordist who can
<select his usual non drifting Smpte source, be it 30nd or 29.97drop.

>As this practice becomes more common in Hollywood, we will do our best
>to deal with it.

<Do you authorize me to CC this exchange to the group ? This topic =
will become
< hot in a few months, and I will be happy to know the reactions of =
your peers.

>I agree, please feel free to quote or copy any portion of our =
communication. >>>

                   Here it is.      Alegriists, could we share your =

aaton at alpes-net.fr,
2 rue de la Paix BP104, 38001 Grenoble, France,
tel +33 7642 6409, fax +33 7651 3491,