I was not really sure of the best forum for this question, but here seemed to make sense.
I am shooting for 4 days for a restaurant for a marketing campaign. The footage will be used to create a commercial (I would prefer 24P), but also for web marketing videos (I would prefer 30P). The footage will be used extensively for both the commercials and the web stuff. Which frame rate would you shoot in.
I've been using lots of 30p lately since it gets rid of the interlaced video look, works great in post, and doesn't flicker quite as much as 24p with fast pans/motion. However, 24p is infinitesimally more cinematic. If it's not a run & gun situation you may go for it instead.
Honestly, your audience almost certainly won't notice a difference regardless.
Micah McDowell: "Honestly, your audience almost certainly won't notice a difference regardless."
How true. (Heavy sigh.)
It never ceases to amaze me what some people simply don't notice. The two biggest things that make me slap my forehead and shout "Doh!" are, in 2nd place, not being bothered by or even noticing how crummy the home-brew PAL to NTSC conversion motion artifacts are and... coming in first place... wanting to set their 16x9 monitor to stretch out older 4x3 material "because we want to use the WHOLE screen."
Let me add something to your list Nick. I do some work for a company that puts videos of scholarship-seeking high school athletes on line.
While it used to be that everything came in at 29.97 fps the more "technically-literate" parents are now sending in 24 fps stuff in order to get that "cinematic" look. Unfortunately high-speed athletic action would seem to be the very worst place to use a lower frame rate. Oh well.......
We do a LOT of compression in addition to production...and while we've done projects both ways, 30P almost always looks better on the web compared to 24P.
Conversely, 24P almost always looks better on television than 30P if you're talking about cinematic feel. But...24P can look good on the web too...just not as clean as 30P does.
But we've also run into issues with 24P material with broadcasters that use Telestream products for their ingest. If they don't setup the target file properly, the fields get reversed. We went so far as to send Telestream test files of our encodes because a local station and the local cable system (Insight) kept reversing fields on our MPG2 files. While the other 5 local broadcasters all had no problems with our files.
Telestream confirmed our files were fine (they asked us to send them and they examined them) and even sent us a recommended fix to give to the 2 offending broadcasters...who...you guessed it...refused to use it because they didn't want to mess with their settings. The local cable station's OWN promos air with the fields reversed so they ingest their own material wrong!
Some high-end encoding software has pull-up (which removes the extra frames and theoretically changes the project to 24P), but it can be squirelly and doesn't always work as advertised.
For these reasons, we do a LOT more 30P now and only do 24P on projects where we absolutely want a more cinematic feel. We send the offending stations a betaSP dub to avoid the field reversal issue on those. Oddly enough, 30P files present no problems with those same two broadcasters.