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Re: [A & B roll]



 
> As so often happens, I disagree with Mike Most on the volume
> of 24 frame video usage in the future.

Oh, come on John, we don't disagree THAT much.........

>.I'm telling everybody
> here to not bother with HD video cameras until 24P  is ready,
> and they're listening.  It looks like we'll never have any
> 1080i production at all.

I think there are different levels to the production picture. Here in
Hollywood, I agree that 1080i production will likely be very minimal,
particularly for prime time television work. But the world at large is much
bigger than our little insulated Hollywood world. And in that world, there
is far more production for news, documentaries, sports, live remotes,
industrial use, and the like than there will ever be here in Hollywood. One
of the reasons we've never had a 24 frame video camera from manufacturers
like the "large Japanese broadcast supplier that also owns a studio in
Culver City" is that the market has never been significant enough for them
to spend the R&D money to develop it. I just don't see WXYZ in Des Moines
(nothing against Des Moines, BTW) being interested in 24p. It's for that
reason that I referred to 24p as a likely "niche" product. That niche, of
course, is us. But I think it's important to note that the one thing that
has arisen out of the last 10 years of format change is the somewhat
universal current nature of Digital Betacam. This allows free interchange of
material among different facilities and suppliers, without need for constant
conversions. What I see happening right now is the use of an incomplete
format (24sf) by one facility, without sufficient support pieces to make a
complete, workable system in place (data generation and insertion, time code
correlation for 30 frame systems, backup equipment freely available, DVNR
type equipment available, etc., etc.) and without any simple means of
interchange with any other facility. And, unfortunately, producers don't
really seem to understand any of this. I just did an effects shot for a show
which shall remain nameless, in which I had to put a simple CG element into
some film footage. They asked me for a number, which I gave based on
"normal" NTSC 16:9 finishing, and then I realized it was a CBS show. So I
asked the question, do you have to deliver this in a hi def format? The
answer, quoted here almost verbatim, was "Yeah, we're doing 24p hi def. Why,
is that an issue??" My answer, which they didn't really want to hear, was,
of course it's an issue because outside of the 5 machines at that one
facility, the format doesn't currently exist! Now, whenever this equipment
is finally released for public consumption (and no, I don't believe that it
will be November) ****some**** of this difficulty will be addressed. And
****ultimately**** it would be nice to be on a universal 24 frame format.
But, like everything else having to do with hi def, all of this technology
is being rushed to market, sold as if it's proven equipment, talked about as
if it's "just another video format" (albeit at 3 times the price) and
generally foisted on us at least a year or 2 before it's ready. And post
facilities are expected to perform just as they do with NTSC. Geeeeeez......

Flame off.

Mike Most

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