The "everything" solution?

[Bill Weaver]

So, here's a fun question.

What if you're putting together a film that will be distributed on the web, on DVD, on Blu-ray, and maybe even broadcast?

What is best acquisition format?

What is best post strategy re: edit and output?

And... just to throw a real wrench in the work, what if some 24p footage has to be dropped into the project?

I'd also love the links to any forums that regularly deal with these issues.

thanks.....

[Tim Polster]

The classic everything format is 24p. It is the video "film" rate, lowers the web steaming load for playback and is native on DVD and Blu-ray.

Being able to drop other framerates on a timeline has more to do with your NLE's capability than anything else. I have used Edius for a long time and you can put just about anything on a timeline and it will make the footage look natural.

I don't understand the term "post strategy". Could you clarify?

DVInfo is the place to discuss these matters!

[Bill Weaver]

Originally Posted by Tim Polster

The classic everything format is 24p. It is the video "film" rate, lowers the web steaming load for playback and is native on DVD and Blu-ray.

Being able to drop other framerates on a timeline has more to do with your NLE's capability than anything else. I have used Edius for a long time and you can put just about anything on a timeline and it will make the footage look natural.

All makes a lot of sense, except for the judder that can get in the way of certain styles of production. So I'm still on the fence. Other friends tell me to stay away from 24 as it has less color information. It's a confusing time. I just wanna shoot!

Thanks. Any other perspectives?

[Vincent Oliver]

Not sure why 24p should have less colour information, unless it's because you are 6 frames short of 30p.

My stock library informs me that 24p footage is easier to sell to a variety of clients. That's good enough reason for me ti use 24p (23.97). As for judder, I have not lost any shots due to jerky motion (yet!).

[Josh Dahlberg]

Originally Posted by Bill Weaver

It's a confusing time. I just wanna shoot!

Tim and Vincent are right, if in doubt go with 24p - that's your best bet unless you have a particular need to do otherwise. If your film is narrative / talking heads / documentary, stick to 24p.

To deal with judder, pan slowly (very slowly), master camera control and you'll be fine. Generally speaking (again, unless you're going for a particular effect), use a 180 degree shutter (1/48th) which will introduce a pleasing degree of motion blur, offsetting the stutter of 24p without the image becoming overly mushy.

The colour theory is bunkum. Isn't it just so typical of friends these days to go around making up stories :-)

Now you can go shoot!

[Tim Polster]

24p is definately a "style" of shooting. It is more clip based, paste it together in post rather than getting all of the action or representing the entire scene in a constant flow. This approach allows for less camera movement and reminds me more of still photography a bit. Scenes at a time.

My take from a drunken sailor style, 60p camera waiver type shooter!

[Didi Schoeman]

Any thoughts on 24p versus 25p if your aim is for international broadcast distribution?

I'm having the software upgrade done to a XF305 that I've just ordered that will allow both 24p & 25p frame rates but I'm still on the fence when it comes to choosing the best option out of the two for a series that will be aimed at both the European and American broadcast markets... (There's no broadcaster involved yet so no one to ask what they would prefer...)

Any ideas or opinions?