Re: Cannon , JVC, SONY, Panasonic HDV vanishing?

When I go to a movie theatre, is it not projected 24p? My eyes seem to have no problem there.

If what you said is true, then why shoot at 24p? If you are going for aesthetics, wouldn't you want to stay true to the frame rate?

Don't get me wrong, I prefer the smooth motion of 29.97 over 23.98.

Recently we've been trying to move to a true 24p workflow (we've been shooting at 24p and adding pulldown upon ingest for quite sometime.) But now that we are completely capable of shooting, editing, and mastering at 24p it seems logical to just do everything 24p. Our monitors accept a 23.98 signal. We've done a couple projects this way. The biggest hurdles we had were when HDV shot by a third party suddenly had to be incorporated into our workflow. We thought it would be easy becuase it too was shot at 24p. But that was when we discovered the whole (29.97 wrapper thing)

My background is strictly video, so when I started working for a company that shoots primarily HDCAM at 24p and edits and masters at 29.97. My theory has always been, "if you're doing video, stick to a video format and workflow." I asked everybody why this workflow was adopted when it seems to cause more problems than solutions. Now after a couple 24p projects, I'm not sure if anything was gained by doing it that way, because we can't control what we're sourcing 100%. For reasons beyond my control we cannot shoot at 29.97.

So when you say 1080 is ALWAYS monitored at 48fps I wonder in what context you mean. Are you saying that video shot at 24p what never MEANT to be viewed at 24p? I'm not being snippy, just trying to figure out if maybe I've led my whole team astray down workflow that will never work.

Sorry this has become totally off topic of the thread.

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