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Re: [A & B roll]




> Take Jim's last idea, but wait until November when 24 fps
> progressive video becomes available in HD.  That should
> get rid of the editing and field dominance issues, plus
> you get your show in HD, which will make for better looking
> down conversions because it's oversampled.  The price will
> be higher than plain old 601 telecine, but probably a lot
> less than making the IP.

You know, I'm not really sold on the 24p transfer scenario, at least not at
this point in time. Consider this: the 24fps format will only exist in an HD
resolution, which means that for all editing (I'm talking film, or "offline"
editing here) a downconversion will need to made, since I don't believe
anyone will have HDCams in their cutting rooms. This will require a 30 fps
coded tape for Avids, with 3:2 pulldown. There has not been any issue with
film accuracy on Avids (using dailies with 3:2 pulldown, Film Composer and
cutting at 24 fps) for quite some time now, and on that issue I'm definitely
from the "if it ain't broke, don't fix it" school. Any translation between
24 and 30 frame codes just opens up more room for error than we have
already, not to mention creating some serious issues for sound post
production and laybacks. The video world in general is not going to go to a
24 frame standard, if only for the fact that it's not likely to be used for
video origination in the near future. And I've yet to see the 24p camera
that Sony's been so freely advertising for the last 9 months or so. So for
me, the first place that you really want 24 fps video is in online, to
create a 24 fps master (or, for that matter, a 60i master with continuous
3:2 cadence that can easily be converted, in one pass, to 24 frames if
needed). This means that if the online system can remove the 3:2 pulldown
while digitizing (similar to the way the Avid Film Composer and Symphony do
this), the 24 fps master is created at assembly time, and recorded out as
either 24p (to a dedicated machine), or as 60i with continuous cadence 3:2
pulldown added back on output. This will likely be available in the very
near future with Fire and Symphony, and possibly other systems as well. The
advantages, to me, are more use of more prevelant, more proven technology,
and continuity with today's more established working methods, as well as far
less reliance on equipment which a) does not exist at present except in
prototype form, and b) will always be "niche" equipment, and thus not nearly
as well supported as the 1080i equipment, which will likely be the more
prevelant standard for video origination.

God, I'm really getting tired of having to deal with this stuff, and it's
not even 2000 yet...........


Mike Most

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