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Video Shooter Second Edition Storytelling With HD Cameras

Video Shooter Second Edition Storytelling With HD Cameras

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Published by Luis Bond

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Published by: Luis Bond on Jul 20, 2012
Copyright:Attribution Non-commercial


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For shooters with aspirations in feature films and dramatic productions, the
advent of 24p represented a significant milestone with improved resolution
and a more cinematic look. Before 2002, DV filmmakers engaged in various
skullduggery, like shooting 25-fps PAL, 10

to achieve the desired 24p feel. All of
that changed with the introduction of the Panasonic AG-DVX100 that offered
24p capability for the first time in an economical camcorder recording to stan-
dard DV tape.


Since DVD’s introduction in 1996, the Hollywood studios originating on film have logi-
cally encoded their movies at 24 fps for native playback on a DVD player. Relying on the
player to perform the required “pull-down” and interlacing, the savvy shooter can pur-
sue an all-24p workflow, and thus avert most NTSC shortcomings while also reducing
the size of the encoded program by 20% – not an insignificant amount in an era when
producers are jamming everything and the kitchen sink on a DVD or Blu-ray disc.


Every DVD and Blu-ray player is inherently a 24p device,
which may be the best reason of all for the video story-
teller to originate in 24p.


PAL, an NTSC derived television system, was adopted in Europe in the 1970s and later in much of the
50 Hz world. PAL operates at exactly 25,000 fps, thus averting NTSC’s criminal frame rate intrigue. Some
folks point to PAL’s superior 625-line vertical resolution compared with NTSC’s 525-lines, but NTSC has
more fields and frames per second. Some industry professionals pejoratively refer to PAL as “Pay A Lot.”

Video Shooter: Storytelling with HD Cameras


Today with 24p firmly entrenched in a wide range of production, there is a
compelling need for the shooter to understand the frame rate, its implications,
and the many permutations.

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