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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

23.98 or 24 fps - what's the difference?

My advice is to use 23.976 unless the post supe or the like is adamant that it must be 24.

99% of the times I hear about problems, it is from shooting in 24 fps. As other posters have mentioned, in most post pipelines its easy to go from 23.976 up to 24 when needed but going from 24 to 23.976 can lead to sound syncing issues in many popular editing systems.
 
because some people want the framerate of film, which is 24
 
First Light Films said:
I know that's the thing these days. What does it deliver, besides jittery pans? From a certain point of view, you lose 6 fps of resolution. Is there a look that the 3:2 pulldown introduces?
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24fps is the temporality of cinema and the standard speed of film of the last 80 years. 3:2 pulldown makes it possible to view 24fps material on an NTSC interlaced television. The look that pulldown introduces is the look that we're all familiar with with a film to TV transfer.
 
24

24

kenn michael said:
24fps is the temporality of cinema and the standard speed of film of the last 80 years. 3:2 pulldown makes it possible to view 24fps material on an NTSC interlaced television. The look that pulldown introduces is the look that we're all familiar with with a film to TV transfer.
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I shot film on an Arri SRII for years. I know everyone is used to the 24fps workflow, but with the Red, why hold on to that for TV? For theatrical film prints it makes sense, but for TV why invent 6 frames every second when you can just shoot them?
 
Your not inventing frames, a pulldown doesn't create a look, and your presenting frames at a rate a television can understand. Its a necessary way to present 24fps material on 60i broadcast sets. We invented interlacing 50 years ago to produce good images at high speeds by sending the video signal in bursts or fields.

Jittery pans come from incorrect shutter speed, when a Digital camera like HVX-200 uses 1080i60 and a 3:2 advanced pulldown to get to 23.98, you should use shutter speeds for 30fps 1/60 instead of 1/48. The image is smoother, it sounds wrong but since your recording 60 interlaced fields first, before the pulldown, it makes sense.
 
29.97 fps is fine for 59.94i USA broadcast, but it doesn't convert as cleanly for 50i European TV broadcast & home video distribution, and it limits any ability for a 24 fps theatrical presentation (though possible.)

23.98 / 24 / 25 fps are a lot more "universal", whereas 29.97 / 30 fps is much more US TV centric. But if that's the only market you want to shoot for, like for a US commercial broadcast, and you prefer the look of 29.97 fps over 23.98 fps with a pulldown, then go ahead and shoot it. But if you are shooting features, or a commercial that may play overseas as well, you want to make sure it can be distributed worldwide.
 
David Mullen ASC said:
29.97 fps is fine for 59.94i USA broadcast, but it doesn't convert as cleanly for 50i European TV broadcast & home video distribution, and it limits any ability for a 24 fps theatrical presentation (though possible.)

23.98 / 24 / 25 fps are a lot more "universal", whereas 29.97 / 30 fps is much more US TV centric. But if that's the only market you want to shoot for, like for a US commercial broadcast, and you prefer the look of 29.97 fps over 23.98 fps with a pulldown, then go ahead and shoot it. But if you are shooting features, or a commercial that may play overseas as well, you want to make sure it can be distributed worldwide.
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Thanks, David. I am shooting now for US TV, and am trying to understand how 24p material looks different. I can identify film originated footage on TV, but it seems more the grain and soft edges that are obvious. Will I see a difference with RED ?
 
Yes you will.
29.97 will render a "live", 'news", or "soap opera" look.
23.98 will render a film look.
Try it and see!
Cheers,
Harry
 
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