All Activity Home Share More sharing options Followers 1. Reply to this topic Start new topic. Recommended Posts. Inc Posted November 28, Posted November 28, Link to comment Share on other sites More sharing options If you want to print your digital back to film us this. But who really cares about that ; Hz as a standard for TV would solve it all and finally render any content playable on any system.
Axel Posted November 28, Lovely, thanks guys - i knew i was onto something, just got mixed up a bit. So i'll carry on with I mean 0. Lucky i work with FCP then! Love this place, loads of info just being handed around! Does it mean a frame rate of 24 fps, or does it mean a frame rate of If pro HD does both frame rates 24, They are distinct and choosing the wrong one could cause significant problems in post.
The summarized version is that choosing 24P gives you a frame to frame match if you want to do a filmout. You would choose The Cinealta allows the user to pick from a variety of framerates. The confusion comes in with these lower level cameras that erroneously simplify the framerate choices.
Instead of being specific, the choice is 24P when the camera is really shooting at I've run into professional cameramen and Producers who initially do the same. They'll ask for 60I but what they really want is Or they'll say they're shooting 24P when they really need I'm sure that someone else can get a lot more technical about the explanation :. I suppose I could too if I dug through my notes, but the gist is that they are different and everyone involved should be on the same page before anything gets shot.
There is no logical reason to use anything but True, the slight slowdown is to allow for simpler compatibility with NTSC, however, essentially all sound post facilities in the US use a video based workflow, regardless of whether the final product is film or video. Not to mention the necessity for viewing copies of dailies, assemblies, and other cuts - all usually delivered on video, primarily DVD these days. In short, the only reason to use 24p for a project shot and posted in the US is to be a stubborn purist - but in the process, you're going to create many more problems than you solve.
You don't "alter" anything. A frame is a frame, regardless of whether 24 of them pass before your eyes in a second or Mark Doering-Powell was saying that I read that as meaning that temporal resolution is less, in the sense that you are recording fewer slices per period of time. But how is spatial resolution benefiting from this? More pixels per screen because of the slower frame rate? Finer detail is resolved? How can horizontal resolution be affected by these frame rate differences?
That makes sense, but I thought the question assumed the same number of pixels per screen, the only variation being True, although for the purposes of temporal vs. And when we say 24p, we almost always mean I know I've always shot Same with 60i really being If we were talking sync sound and telecine speed settings and so on, then its a more important distinction to make.
That darned colourburst and subcarrier signal messing up all those nice, round numbers. Actually engineering genius when you think of it.
This is only true if "all else is equal" in this case bandwidth, or bit rate or recording capacity. Think of the situation with PAL and NTSC-- same general bandwidth, but NTSC favours temporal resolution at the expense of scanning lines vert resolution , while PAL borrows bandwidth from frame rate five frames less, and uses it to add more lines.
The Imagevision 24fps SD video system went a little further, and added 30 more lines at the expense of one less frame, in the same bandwidth space. It's not a truism though. It's just that within a specific format space, you push in one area and you pull in another. To think of it another way, in any one second of SD video, there are 15, lines of video, including active blanking lines.
So a temporal resolution of 25 divided into a spatial resolution of , gives, voila! You could divide the one second strip of lines into 20, and get 20 frames with Here is a basic primer on FPS and what it means for your project. A frame rate refers to the number of individual frames or images that are displayed per second of film or TV display.
It is based on the look you want to achieve. Movies and films are almost exclusively projected at 24 frames per second. Television does not have an internationally accepted frame rate.
Think about is the cost and size of your shoot. The more you have to edit and have storage for, the more difficult it is to wrap the project, so plan well ahead about the look you want to achieve and how feasible it is to complete in post. Cameras are becoming more and more capable of filming at faster and faster frames per second speeds but at the expense of resolution though the technology keeps improving.
Slow-motion effects are created by recording hundreds of frames per second and then playing them back at a slower rate. An example would be a bullet shattering a light bulb. It may only take a fraction of a second but if the camera records the light bulb a thousand times per second and then plays back at 24 FPS, the movie onscreen will take almost 40 times as long.
Are you going for a slow-motion effect or a cinematic look? This will determine what frame rate you want to record at. Important to keep in mind is when you shoot video at 24 FPS you need to avoid quick pans and tilts because they may cause an image to stutter.
At 12 FPS or lower, your brain begins to differentiate the individual frames and they no longer seem seamless.
Once you get up to 18 FPS, your brain can process the frames as fluid animation. In case you are wondering if frame rate is the same as shutter speed when shooting video on your DSLR, the answer is: no, it is not the same!
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