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Jim Erickson wrote;
>Perhaps it's just me, but I have never felt the difference between 30 fps and
>24fps to be earth-shattering---even on material that has a lot of fast pans.
> I am always surprised to see people taking such strong stands on this
>issue. Objectively, I see many points for argument. Subjectively, I do
Ok, step back, this gets messy.
As a colorist working on a Cintel telecine, I presume, how can any colorist
have anything objectively favorable to say about running film at 30fps. Lets
disregard the perceived resolution of motion that we all acknowledge 30fps
material has over 24fps for a moment and look at the facts that a colorist
has to face on a day to day basis working with 30fps film material.
At 30fps the Cintel telecine generally has the following problems, that
combined with your engineering staff can be outright embarrassing or just
Run/still color differences enhanced at 30fps.
active stop changing vertically.
no ability to run film speed faster than 30fps without metaspeed or.
reduced ability to blow up of push in image due to patch size. For those
without NEWS flip.
reduced flare and burn due to smaller patch.
patch surface noise and texture increased.
My logic is a bit impaired by this glass of California red, but I'm sure we
can all contribute more issues and workarounds that make working on 16 or
35mm at 30fps an additional challenge that really makes telecine at 30fps a
Bob Festa Festa at pacbell.net
Director of Telecine bfesta at encorevideo.com
Encore Santa Monica 310 656 7663
702 Arizona Ave. SM, CA 90401
Red Hat Linux...the choice of a GNU generation.