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><< 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
>    I am always surprised to see people taking such strong stands on this
> issue.   Objectively, I see many points for argument.  Subjectively, I do
> not. >>
>I had a viewing experience once that proved the dramatic difference 6fps can
>make. It was a screening seminar at the Ziegfeld Theatre in New York City
>presented by Doug Trumbull.
>Before the Showscan format was invented, Trumbull was campaigning for a
>worldwide change to a 30fps theatrical format. In the demonstration, side by
>side cameras photographed a variety of scenes at 24fps and 30fps
>simultaneously, and then the 35mm prints of those negatives were projected at
>their native frame rates onto the screen at the Ziegfeld. The difference was
>dramatic. Not only was the 30 fps image brighter, it was clearly superior for
>action oriented camera work, exhibiting far less strobing and increased
>overall clarity. The difference was immediately apparent.
>I've edited 2 ABC series that were originated on 16mm 4x3 30fps, and both
>productions decided on the route following tests at 24 and 30fps. In each
>case the clarity of the image, decreased grain patterns, and less strobing in
>moving camera made the choice easy. Many commercial productions forced into
>16mm have gone the 30fps route with very good results.
>Basil Pappas
>CBS Television

Thank you, Basil. I absolutely agree. Besides which, the impression that 
24fps jutter contributes to the "film look" results in such abominations 
as "The Film Look" process which makes good looking video look like a bad 
film transfer. The use of of 30fps film allows the content to transend 
the medium because you can use the larger dynamic range and color space 
of film without being constrained by the visual shortcomings of 24fps.

Martin Zeichner

If you live long enough, eventually you get to see everything.