1K quality = to 35MM ?????

well i didnt wanted to say anything like that you dont have knowledge but i am getting confused friend.as im already not clear which camera to buy and your placing an issue of tv.bcz i have read in cinema industry only 24 frames format works.and this 25 and 29 frames issue is for tv not for film.thats what i have read thats why i picked this point......if there is arelation then guide me about it friend.i will be thanksful to you


Regards

If you read what I wrote, I think I was clear that I was speaking about the progressive vs. interlaced qualities of the frame. Those qualities will remain the same across different frame rates. What changes with 24f is that the camera applies 3:2 (or 2:3:3:2) pulldown, which must be removed in post, in order to get an actual 24 fps.

If you want to skip the telecine/inverse telecine steps, you can purchase a PAL camera that shoots 25fps, slow the audio down by 4%, pitch shift it so it doesn't have a frequency change, and conform the 25fps video to 24fps, you won't have to deal with removing pull-down.

The reason I did not make these points earlier, is simply that these things are not part of my normal, day-to-day workflow, so I leave them to someone with more real world experience. On the other hand, I do understand and have actually done all of these conversions; just not with my new Canon XH-A1, yet.

I hope that makes it more clear. This aspect (24/30 frame mode or progressive capture) should only be a small part of your decision. I was essentially trying to say that frame modes appear equivalent to progressive modes in my experience. You should be at least as concerned about color depth, lens quality, compression artifacts, and audio acquisition. In the end, the quality of your movie will have a lot less to do with 24f vs. 24p than it will with your mastery of the camera, lighting, sound, and of course the story itself.

The response you posted from the film transfer guy was pretty clear that lighting and camera control were probably more important than resolution and acquisition format.

Warm regards,
Doug

ad2478 said:

i am getting confused friend. as im already not clear which camera to buy

Click to expand...

You are being given excellent information from many sources. I
suspect the language difference is creating some problems and too
much technical detail confuses even ME

And I’m a native english speaker.

Adeel, You can use any DV camera available to get the results you want.
I’m serious. Any DV camera will be fine. I gave you a list of
seven cameras in your price range. Any of them will do the job.

You can shoot using Canon’s “frame mode” (30f or 24f) or you can
shoot progressive (24p) and you can even shoot standard
definition interlaced (30i). Many movies have been shot on all
those frame rates and transferred to film to show in the
theaters.

So to make it easier (I hope) let me break it down once again. Of
course this is my opinion only and not the final answer to your
situation.

You should get a camera that shoots 24p and on tape.

You should light it well - as if you are lighting for film.

Before you shoot, decide on the lab that will do the transfer and
work with them. Don’t ask what camera you should get - tell them
the camera you are using and work with them using what you have.

As you edit, stay in touch with the lab regarding your work flow.

oakstreetphotovideo i would like to say thanks to you...you have given a lot of detail and it was too technical that why i might have failed to understand. i just feel that you are irretated by my last post.well i am realy sorry for that

Respected directorik thanks a lot you are very correct the info was getting highly technical for which i think i had to first complete PHd in Filmmaking equipments


lolzz

well thanks a lot you made thigns very easy...........i recently say CANON HV 20 and luckyli its acheaper cam.less then 1000 US dollars and it had HD resolution too []

and im realy happy for this

oakstreetphotovideo said:

I shoot in 30f because I am shooting for television commercials that will be broadcast in the U.S., which means NTSC (29.97fps). I have no other reason for shooting in 30f vs. 24f.

Regarding my technical explanation; it is a very technical problem, and my time is limited. My background is in writing image processing software. I deal with these things at a mathematical level. That was the user friendly version.

The most user friendly thing I can say, although I've already said it, is that I don't believe 30f or 24f would be unsuitable for inverse telecine. I have read things that support my opinion, also.

Doug

Click to expand...

If that's the user friendly version, then I'm seriously screwed.

You're not screwed. I've been working a lot of hours writing code, and all I can think about is matrix arithmetic. In the end, it doesn't really matter, because all anyone really wants to hear is that they can make it work. The questions are generally too vague to merit detailed answers, and even the best camera in the world can't save you from a bad production. On the other hand, I've seen some very creative and interesting work done on a web-cam.

I was really just reacting to the assertion that 24f should not be used. I guess I was thinking out loud, but I do not agree with that statement and I'd like to know what logic it is based upon.

Doug (who is very tired right now)