The 24p issue

[Eric Bilodeau]

24p seems to be the recurrent issue going on. It is important to have a thorough reflexion on this. If you are planning on directing either a short or any film not considered long enough to be a feature then your target might not be to transfer on film. Film (35mm) is not the ideal support for shorts because distribution sucks and it will not be gaining enough money from it. Most festivals now accept digital films and shorts on either DVD, Beta SP or miniDV. Shorts will most definitely gain more on TV than on film (long gone are the days where shorts could be seen at the beginning of features...). Many televisions are interrested in screening shorts, especially specialised channels. The JY-HD10u is an ideal camera for television since it can shoot either 60i DV, 60p Sd or 30pHD and upconvert or downconvert from the camera. If your intended market is television or festivals, don't bother about the 24p thing, 30p is fine, even excellent.

[Heath McKnight]

<<<-- Originally posted by Eric Bilodeau : 24p seems to be the recurrent issue going on. It is important to have a thorough reflexion on this. If you are planning on directing either a short or any film not considered long enough to be a feature then your target might not be to transfer on film. Film (35mm) is not the ideal support for shorts because distribution sucks and it will not be gaining enough money from it. Most festivals now accept digital films and shorts on either DVD, Beta SP or miniDV. Shorts will most definitely gain more on TV than on film (long gone are the days where shorts could be seen at the beginning of features...). Many televisions are interrested in screening shorts, especially specialised channels. The JY-HD10u is an ideal camera for television since it can shoot either 60i DV, 60p Sd or 30pHD and upconvert or downconvert from the camera. If your intended market is television or festivals, don't bother about the 24p thing, 30p is fine, even excellent. -->>>

I agree, but not all features I do will go to film, only the higher end stuff. I believe they shot 28 DAYS LATER on XL-1s's PAL. And that went to film almost totally flawlessly. I was really impressed. I don't want to get off track (again) on 28 DAYS LATER, but I wonder if shooting my "big" budget flick 9:04 AM on either this or a PAL version of the HD10...

heath

[Eric Bilodeau]

<<<-- originally posted by Heath McKnight : not all features I do will go to film, only the higher end stuff. -->>>

You are right, I do not think that systematically a feature will be blown but they are more likely than shorts and they certainly have more advantage to this process than shorts. You are also right about 28 days later, it was shot in Pal though I do not know if it was 50i or 25p.

Eric

[Heath McKnight]

<<<-- Originally posted by Eric Bilodeau : <<<-- You are also right about 28 days later, it was shot in Pal though I do not know if it was 50i or 25p.

Eric -->>>

Last time on this subject so we can stay on the HD1 and HD10 subject, I didn't know that the Pal XL-1s could do 25p.

heath

[Peter Moore]

"I agree, but not all features I do will go to film, only the higher end stuff. I believe they shot 28 DAYS LATER on XL-1s's PAL. And that went to film almost totally flawlessly."

Uh, well, that should come as no surprise. 50i can be pretty much flawlessly converted to 25p. 25p to 24p conversion is done by slowing down the film and audio 4%, which is basically unnoticeable.

Changing from 30p to 24p is a whole different animal.

[Chris Hurd]

For the record, 28 Days Later was shot on PAL XL1, not XL1S. Using Frame Movie mode in either camera produces 25p. As noted, this is now pretty far off-topic of the HD10U discussions.