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Re: 24 F.P.S. and PAL
Tim Bond wrote:
> Your concern is well considered. I put a document together some time ago for the use of my clients, as well as an aid to myself. There are several scenarios, each with a unique treatment, most of which I tried to summarize below. Whenever I have to answer these questions I use this to refresh memory. I may have missed something, and the scope could perhaps be broadened, so I hope the group will add further insights.
A great summary, so far as things like flicker on HMI's, and the visual
effects of varispeed are concerned.
I thought about working my comments about neg matching to a 24/25 PAL
transfer into this summary, but it all got too hard. What to do about
Avid playouts - what speed do they match, will the sound be in sync . .
. What about the hybrid frames: is the editing system field 1 or field 2
dominant . . . does the neg cutting system handle the repeated field
accurately . . . does the telecine insert the repeated field
consistently . . .does everyone know _exactly_ what they are doing?
(moral: avoid 24fps PAL transfers for editing).
But then there are the problems that sound editors have to sort out -
and composers who have been known to spot music tracks to timecode that
doesn't relate to clock time (and the ones who don't appreciate
repitching their C minor theme into not quite C-sharp minor) - and
producers selling stuff that may end up one length on film and a
different duration on TV if the final transfer is done at 25. Then. . .
Still, if was easy, half of us wouldn't have a job, would we:-)
- ** - Dominic Case - ** -
- ** - Atlab Australia - ** -
thanks to Frank Sparano and Don Ver Ploeg for support of the
Telecine Internet Group in 1997
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