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Plethora of formats $$$$

One thing that seems obvious when looking at the ASTC chart is that no one
will possibly be able to support, build equipment for, or produce in every
single ASTC format listed without going broke in the process. 

I've heard discussions recently suggesting 1080 progressive 24 frame per
second as a logical choice for film originated  post production, and I feel
it makes a lot of sense.  I am hearing that 1080 P 24 tape machines and
other equipment should be available in the late fall, or first quarter of
98. I feel that it should be an excellent mastering format that lends itself
well to down conversion to other formats on the chart.  

If this were to become the film post format of choice what is the consensus
about what frame rate the video monitor should use? Naturally, 24Hz won't
work for monitoring due to "My Friend Flicka" ;-)  Would 48Hz be high
enough, or would 72Hz or 96Hz be better (and whose post production suitable
monitor could do this)? Or, would it be best to view in 1080 I 60 until 1080
P 60 Hz is available? Or do you hate the thought of 1080 P 24 and prefer
something else?  I feel that using one (or possibly two) formats for post
production, and then delivering what the client requests via conversion
makes sense (especially if the conversions can be as good or possibly even
better than the producing in the client's native format). Have I opened a
can of worms?
Craig Nichols					213-465-1231 
Director of Engineering		                213-465-2579 fax	
Todd-AO Video       			        craign at todd-ao.com
Los Angeles, CA 				craign at earthlink.net

Thanks to Doug Leighton, Ted Brady, & Gary Coates for support in 1998.
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