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HDTV, Super 16, 24fps vs. 30 fps and "ABOMINATION"



I agree with Mike Post and others, 30 fps does yield the perception of
video origination to a degree. In our sessions every day at FILMLOOK, we
offer a simulation of different frame rates such as 24 and 30. Different
clients have different preferences but most agree the 24 fps rate has a
greater perception of film than 30 (as we can compare the two at the
push of a button). Usually the reason that a client chooses 30 fps here
is that they object to the judder that occurs with greater motion and
panning - especially because it was shot in video and the camera
operator is not concerned with panning rates as a good cinematographer
is.  Basically, all the sitcoms that we've processed ("John
Larroquette," "Beakman's World," "Cosby" segments) were done with the 30
fps simulation and yet most music videos, movies for TV, movies for home
release were done mostly at a 24 fps simulated rate.

In reference to:

>Thank you, Basil. I absolutely agree. Besides which, the impression that=
 24fps jutter contributes to the "film look" results in such abominations=
 as "The Film Look" process which makes good looking video look like a ba=
d film transfer. The use of of 30fps film allows the content to transend =
the medium because you can use the larger dynamic range and color space o=
f film without being constrained by the visual shortcomings of 24fps.

>Martin Zeichner

May I remind you Mr. Zeichner, that even if you shoot 70 mm (at any
frame rate) when you transfer to video you will never have any greater
dynamic range or color space than what the NTSC (or PAL) system, VTR's,
and monitors are capable of delivering and that in fact, every telecine
is a very specialized video camera.  The 24 fps to 2:3 pull down in a
typical transfer imparts a very strong aspect of the perception of film.
If you doubt this, transfer some film shot at 60 fps (like showscan) and
compare it with video footage shot with a Sony DVW700 with 1/125 shutter
setting and try and tell which is which (maintaining, of course, the
same scene, same lighting and no dirt, scratches, or gate weave.)
Besides, both will look like video origination!

There are many who do not consider FILMLOOK=AE an abomination such as the=

U.S. Patent office, Eastman Kodak Research and Development, Sony /
Columbia Pictures Television, the Academy of Television Arts and
Sciences (1992 EMMYS-outstanding acheivement in engineering award) and
the producers and executives of numerous shows on every Broadcast and
cable network in the U. S. and Canada. If you would like to see a
demonstration of our "abomination" and also a film vs. video test that
Sony shot (that we processed) call us at (818) 955-7082.

Robert Faber
FILMLOOK Inc.