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Old July 12th, 2006, 06:46 PM   #46
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Originally Posted by Kevin Shaw
I guess the best thing I can say here is that I certainly hope people shooting 24p are doing that carefully, because even 30p can look funny if not done right. I don't notice the artistic characteristics of low frame rates as much as I notice motion judder when low frame rates are used incorrectly....
People keep saying that 24p has to be shot right. Can someone post a link to the "rules" for shooting 24p correctly?

The only rule that it seems people keep accenting is "Don't do fast pans.? However, on the one hand, fast pans generally are nausea making no matter what the frame rate and on the other hand whip pans are standard in film.

What is a list of the specific rules/techniques for shooting 24p that sets it apart from shooting other frame rates of video?
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Old July 12th, 2006, 06:55 PM   #47
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Each has a purpose. Wouldn't you agree?


I have reasons for shooting/editing/delivering 30fps.
Likewise I have reasons to shoot/edit/deliver 24fps.

I don't think shooting 24fps is "necessary" in order to get any look. Pull down video does not look the same as 24 fps film. Not by a stretch. So the film look on DVD conversation I think is irrelevant (IMO). All DVD's are 29.97 or 25 fps depending on the region.

The one thing that I think 24fps brings to the table is a slower approach to everything and much more careful camera moves.

no matter what, have fun shooting..
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Old July 12th, 2006, 06:58 PM   #48
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Originally Posted by Jack Walker
What is a list of the specific rules/techniques for shooting 24p that sets it apart from shooting other frame rates of video?
Start here and then study the relationships on this chart.

It is a start to realizing the care that must be taken when shooting true progressive with the ProHD products.
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Old July 12th, 2006, 08:03 PM   #49
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Quote:
Originally Posted by Kevin Shaw
I guess the best thing I can say here is that I certainly hope people shooting 24p are doing that carefully, because even 30p can look funny if not done right. I don't notice the artistic characteristics of low frame rates as much as I notice motion judder when low frame rates are used incorrectly, and while that may not happen much in major motion pictures it is a risk of shooting that way. Maybe if I ever made a feature film I'd feel differently about this, but for my work I just want smooth motion.

As far as digital still cameras are concerned, it's not just a question of megapixels and other enhancements - some photographers swore (and a few still swear) that they don't like the digital look. But it's all subjective in the end: if we'd been shooting digital pictures for 50 years and someone brought us film cameras we'd probably think the film pictures looked funny. Same for 24p: it's what we're used to.
Kevin I must say I do not shoot nor have the ability to edit anything in 24p and will likely never for that matter I am not doing anything I would bump up to film. I do how ever shoot most of my projects in 30p and do so with great success, I primarily make nature videos for state parks and an occassional wedding. Shooting in 30p with the settings in my camera give me a very film like end product that many people have enjoyed. I use to shoot with HI8 as a starting source in 60p my projects now look much better in HDV an allot more film like. No one has ever said my projects look like video, they use to when I shot in HI8 60p but not anymore and it did not take me very long to adapt to the 30p shooting I do now I did not find it that difficult to adapt to 30p, sure there are some adjustments you need to make in certain situations but for the most part its really not as difficult as you make it seem. Everything I have put together moving subject and all have come out with great color smoothness and film like appearance in fact I actually prefur it over 24p these results and more are just a few of the reasons I bought the HD100 in the first place I only wish I had this camera years ago to use on project I have already finished in the past my new projects have so much more appeal with less effort than anything I ever shot in HI8 60p and when you see the look on someones face when they see some of the things I have shot with this camera its really something, something I never saw in there faces when viewing my HI8 footage.
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Old July 13th, 2006, 01:26 AM   #50
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Quote:
Originally Posted by Stephen L. Noe
Each has a purpose. Wouldn't you agree?
That sounds like something most of us can probably agree with. If you and your viewers like 24p then shoot 24p; those of us who like other options can use those. Maybe I need to watch more movies...
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Old July 13th, 2006, 01:56 AM   #51
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Suspension of Disbelief

I say that 24p will always rule when it comes to telling a story, especially a fictional one. People watch movies in the pursuit of entering an alternate dimension of sight and perception-one that shares no ressemblance with the visual dimensions of their own life, if you will. And the magic lies in the way that 24p projects that alternate dimension of sight and perception. The dreams we dream in our sleep are shot in 24p; that's why they're so exciting. Suspension of disbelief is what enables us to surrender our minds and our souls to the story on the screen. It's a proven fact that anything other than 24p will always fall short of enabling us to suspend disbelief. Watching video, it's virtually impossible to achieve suspension of disbelief. When we dream, and when we watch a movie in 24p, that's when total suspension of disbelief can happen.
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Old July 13th, 2006, 09:34 AM   #52
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Originally Posted by Jaadgy Akanni
It's a proven fact that anything other than 24p will always fall short of enabling us to suspend disbelief.
See, that's the kind of statement which doesn't make any sense to me. When I watch a good fictional show on TV at 60i I don't experience any less 'suspension of disbelief' than I do when watching a movie in a theater at 24p, so clearly the frame rate isn't what makes visual entertainment work. If people like the artistic look of 24p that's one thing, but it's not essential to the art of telling a good story. 'Nuff said.
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Old July 13th, 2006, 10:44 AM   #53
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I think what Jaadgys and other people are trying to say is that different frame rates are good for different things when you want more drama in your shoot or the ability to take someone away in a story 24p gives you that edge of look that adds to your story and makes it more dramatic your eyes see more of a 60p look every day so the 24p is of a different texture than what your use to seeing which adds a nice texture to your story I think making it more pleasing to view if done correctly. 60p on the other hand is better for more life like presentation Reality shows, news, some citcomes, sports, some documentarys, soaps operas, never really understood that one but I dont watch them so I dont really care anyway the later are usually things were the producer is trying to get you there, on the spot live ect.... so you see there is a frame rate for everything 24p is just better sooted for the dramas, adventures and stories, not that you cant make something in 60p thats not entertaining but when you want to get your viewer really involved in the story you want to use to your fullest every angle you can to do that music, softness, texture, ect... obviously there is still so much more to this but I think you can get my point 24P adds to the ability to achieve this you just dont get with 60p Ben Hur was a great movie and at 60p it would still have been a great movie but getting away from the story look and closer the to the every day look I think would have not done the film any justice and infact would have made it look less epic. This is the best way I now of explaining this and why Hollywood will more than likely always shoot movies in 24p it will just be digital 24p
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Old July 14th, 2006, 09:27 AM   #54
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Quote:
Originally Posted by Kevin Shaw
When I watch a good fictional show on TV at 60i I don't experience any less 'suspension of disbelief' than I do when watching a movie in a theater at 24p, so clearly the frame rate isn't what makes visual entertainment work.
I cannot think of a good fictional show I've ever seen that was shot at 60i (NTSC.)

When I was growing up there was a show on Canadian TV called "The Littlest Hobo" about a German Sheppard who drifted from town to town helping people with their problems. As a kid I loved the show, but it was shot straight 60i NTSC, and I always associated the motion of that look with "Canadian" or "low-budget."

In more recent history a Canadian/German co-pro sci-fi show called "LEXX" was one of the first shows to shoot in HD, but unfortunately it was shot at 1080i60. I had the same impression - even though the show was funny, the FX were pretty good and the female costuming was "nice," it was tough to get around the visual impact of 60i. It still seemed "cheap" to me, and I'm sure it probably was, but the production value could only be as good as 60i would allow. I think they eventually processed the final masters for subsequent seasons with "filmlook."

When I think of dramatic productions still shot in 60i all I can come up with are soap operas. Some sitcoms like "Grace Under Fire," "Rosanne," "Married With Children," and "Growing Pains" used to be shot at 60i, but I think all sitcoms are now shot HD24P. It even helps comedy!
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Old July 14th, 2006, 09:36 AM   #55
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Wow, I forgot about Lexx, but you're right . . . it looked like a high school production.
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Old July 14th, 2006, 10:16 AM   #56
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Quote:
Originally Posted by Jaadgy Akanni
I say that 24p will always rule when it comes to telling a story, especially a fictional one. People watch movies in the pursuit of entering an alternate dimension of sight and perception-one that shares no ressemblance with the visual dimensions of their own life, if you will. And the magic lies in the way that 24p projects that alternate dimension of sight and perception. The dreams we dream in our sleep are shot in 24p; that's why they're so exciting. Suspension of disbelief is what enables us to surrender our minds and our souls to the story on the screen. It's a proven fact that anything other than 24p will always fall short of enabling us to suspend disbelief. Watching video, it's virtually impossible to achieve suspension of disbelief. When we dream, and when we watch a movie in 24p, that's when total suspension of disbelief can happen.
It's a proven fact that 24p is best for belief suspension? who proved it and how?
And we dream in 24p as well? Even in PAL countries? come on man, you're really laying it on pretty thick here.
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Old July 14th, 2006, 11:27 AM   #57
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Kevin has been a bit hammered in this post, so I'm gonna say I largely agree with him. I think our current preference is primarily historical - what we've gotten used to - not psychological/physiological.

It will be interesting to see how the two sides of the argument hold up in 20 years.

If it really is "a proven fact that anything other than 24p will always fall short of enabling us to suspend disbelief" then I look forward to some links to those facts.

And no, we don't dream in 24p.
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Old July 14th, 2006, 01:58 PM   #58
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Quote:
Originally Posted by Stephen L. Noe
Start here and then study the relationships on this chart.

It is a start to realizing the care that must be taken when shooting true progressive with the ProHD products.
If shooting at 30p, does it stand that you should shoot at 1/30 sec exposure to get more smear and less judder as the article explains to shoot at 1/24 sec when shooting 24p?

What is the relationship between 24p and 30p material and exposure (shutter) speed when you will want to convert the material to slow motion later? Is it better to have a faster shutter speed, slower shudder?
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Old July 14th, 2006, 02:11 PM   #59
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Originally Posted by Mike Morrell
If shooting at 30p, does it stand that you should shoot at 1/30 sec exposure to get more smear and less judder as the article explains to shoot at 1/24 sec when shooting 24p?

What is the relationship between 24p and 30p material and exposure (shutter) speed when you will want to convert the material to slow motion later? Is it better to have a faster shutter speed, slower shudder?
Have a gander at this post Click here

Essentially, if you want to treat the HD-100 like it's an interlaced camera and disobey the panning speed recommendations then you can set your shutter to match the frame rate and get smear. I think it is infinately better to learn the proper panning speeds in order to eliminate judder by virtue of panning at or below the specified speed.
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Old July 16th, 2006, 09:54 AM   #60
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Originally Posted by Brian Luce
It's a proven fact that 24p is best for belief suspension? who proved it and how?

And we dream in 24p as well? Even in PAL countries? come on man, you're really laying it on pretty thick here.
I love the fact you have challanged this "theory" because it should be challanged. BUT, I'm afraid there is a frame-rate boundry between REAL and UNREAL. I'm not sure if it is 24fps or 26fps or 30fp, but I'm convinced it is real. The faster information is presented to our brain, the more REAL it looks. There's no doubt that 50fps looks fairly real.

However, I find it very odd that 24fps -- arrived at supposedly for audio quality -- just happens to be the only NON-REAL frame-rate. Which raises the question: was 24fps actually chosen because it DID work for viewing stories OR have we all learned that 24fps = NON-REAL? (OK -- PAL viewers also accept 25fps.)

Is it really possible that the move from 25 to 30 destroys the ability to be NON-REAL. If so -- what is the dividing line: 26, 27, 28, or 29fps?

I also suspect it is a matter of shutter-speed and shutter-efficiency. Haven't heard of the latter? It's a real term, not mine. But it's time to sleep so I can't explain it now. But, it could be more important than frame-rate.
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