telecine & 48fps & stop-motion

First off,

As for telecine... you want to tell the telecine house about the frame rate you shoot at, or in the case of stop motion what the playback rate should be (24fps or 48fps).

Overcranking (48fps) is done to achieve slow motion, so generally the playback speed would still be 24fps.

The difference between frames and fields is that fields is an interlace issue, there are two fields (upper and lower) for every frame of video. So 60i (standard NTSC) equates to 30 (or more specifically with NTSC 29.97) frames per second. Most likely what you would want would be standard NTSC footage that encapsulates the progressive image... this is how 24p footage is handled with (most) DV cameras. The 24p footage lives within the 29.97fps stream and is extracted by means of pulldown removal.

If, however you get your footage back on a hard drive, which some transfer services offer, you could probably get it as progressive video files (likely avi or mov) or perhaps image sequences.

Just be sure you tell the transfer house what you want, and they should be able to take care of you.

One of the forum members with a bit more telecine experience than myself can confirm or deny some of this and fill in any of the more confusing bits.

thanks, dude.
are there any certain houses that are known to be better than others? im in the LA area so im guessing there are probably lots who can do it, i just want it done well (i know...$$$).

PacLab and/or Yale are the two out there I've heard about the most often.

You also have the option to telecine at 30fps. Thats what I recomend, its all I have ever done. At that rate it doesn't matter what FPS you shot at, every frame will take up exactly one frame of video (2 feilds). From that you tell your project (in your timeline) how to interpret the film. Since your probably basing your over/under cranking (or speed shooting) on a 24fps standard, everything shot at speed will look like its running a bit fast on tape. Once you interpret your footage at 24fps it will move at the proper speed. That simplifies things compared to runing it through at 24fps, since with that option there will be a pulldown. Pulldown to me should be placed by the NLE at the end for NTSC/PAL output. If its in the original TK, then you have to deal with that throughout post. Much easier to run it through at 30fps regardless of what you actually shot it at to ensure that each frame of film = one frame video. It also makes any match-back/negative cut from EDL a bit simpler.

enjoy that K3. nifty little camera. did you get the bayonet lens or the M42 mount?