Steve Rosen
December 23rd, 2005, 11:34 AM
I had a wake-up call recently that I thought I would share realtive to the 24P issue. Being a longtime film shooter, I, too, like the looks of 24, and like the look of it from this (XL H1) camera.. but...
Last year I made a client documentary about the first 10 years of a new California State University and shot with the Panasonic DVX 100A, letterbox, 24P. I really liked the image from the camera and felt that the 24 fps did feel like film. It has been screened in large (500 seat) theaters and looks terrific, has won several awards - here's the rub...
The film was also aired on west coast PBS affiliates. The 28 minute documentary was prepped for PBS broadcast standards by an affiliate. The engineers didn't like the "judder" on some of the pans (I like swish pans, ala NYPD Blue) and actually cut into them - without consulting me. It ruined the continuity of several scenes. I, personally, didn't think they looked different than the same shots I've made numerous times in super16.
I realize many here have the hopes/asperations/intentions of transferring to film and that is why 24P is appealing. But the fact is that television is a more likely venue... But those guys that spend their lives staring at scopes and production monitors all day are in a position to alter your footage, I think arbitrarily... Steve Rosen
Last year I made a client documentary about the first 10 years of a new California State University and shot with the Panasonic DVX 100A, letterbox, 24P. I really liked the image from the camera and felt that the 24 fps did feel like film. It has been screened in large (500 seat) theaters and looks terrific, has won several awards - here's the rub...
The film was also aired on west coast PBS affiliates. The 28 minute documentary was prepped for PBS broadcast standards by an affiliate. The engineers didn't like the "judder" on some of the pans (I like swish pans, ala NYPD Blue) and actually cut into them - without consulting me. It ruined the continuity of several scenes. I, personally, didn't think they looked different than the same shots I've made numerous times in super16.
I realize many here have the hopes/asperations/intentions of transferring to film and that is why 24P is appealing. But the fact is that television is a more likely venue... But those guys that spend their lives staring at scopes and production monitors all day are in a position to alter your footage, I think arbitrarily... Steve Rosen