I am Kody with a "K" also known as the Kool Kay. I was born in Peace River, Alberta. I now live in Edmonton, Alberta. I am an Editing Intern at Studio Post and a Video Editor at CTV Edmomton. I am currently going to NAIT (Northern Alberta Institute of...
So today I had my first client in a post production house. And I must say I think it went very well. Admittedly it is a little hard trying to not be so technical. Particularly the how or why questions. basically you just need to say you're doing magic! I guess it kind of is in a way. Movie magic that is.
The project we were working itself wasn't very exciting but that's okay because I think it was a good experience working with someone who is non-technical. He brought me a PowerPoint that he wanted to make a video. I can and did do it. Just an odd file to work with is all. At any rate I the project is going to get done and be to the clients liking! That's the important part!
I’ve been on an internship at a post-production house called Studio Post for a little while now. And in the past two and a half weeks I have learned lots. Particularly when it comes to framerates. Now this has brought something to my attention.
Let’s say you’re shooting a documentary. Being a documentary you’re going to get footage from everywhere. Archival film, newly shot interviews, what have you. Now in an example with the archival film (23.98) you would convert it to 29.97i with pulldown.
(image of 3-2 pulldown from avchduster.com)
Then you’ll proceed to edit with everything at 29.97 and finally mastering in 29.97. Doing this prevents you from be able to do the; following.
You can’t make a progressive scan Blu-ray, because the format doesn’t support 29.97p, only 29.97i
You can’t convert the master to PAL without introducing serious motion artifacts, even on the best conversion hardware.Â
You would’ve “baked in” the 3:2 pulldown pattern of the archival footage and that cannot be removed on playback, leaving repeated fields, or ghost images. (This gets even worse when you convert the frame rate to 25 for PAL).
Or you shoot all your new stuff at 23.98 (and obviously don’t convert the film footage). Edit and master in 23.98 and by doing this it lets you do the following.
Deliver an NTSC DVD that will play progressive.
Deliver a progressive scan PAL master to non-NTSC countries by speeding up the 23.98 master to 25fps - with this method you have *no* motion artifacts, because you’re doing a 1:1 frame mapping, just playing it faster, effectively.
Create a Blu-ray with a progressive-scan frame rate (23.98) that will play worldwide.
Create 29.97i masters for broadcast, simply by adding 3-2 pulldown when the master is dubbing to tape.
Now there is a lot of resistance to working in 23.98. Heck I’m guilty myself opting not to shoot in 23.98 on the last documentary I did. But now with this knowledge I am not sure why working in 23.98 is not oped for. It’s easy to convert to PAL, 24 and 29.97. I guess it’s just an old rivalry between film and TV in North America. Alternatively you could just move to PAL land and your life will be so much easier.
The other day I re-watched a video by Griffin Hammond. He mentioned varifocal and parfocal lenses. I was curious and decided to look it up, and found out something rather interest. And if you shoot on a DSLR then this is information you have to know about.
A varifocal lens does not maintain your focus while zooming. It has a variable focal length, which causes focus changes as focal length (and magnification) changes. They are also cheaper to make. Most prime lenses are varifocal but that’s fine as a prime lens cannot zoom.
Now a parfocal lens, also known as a “true zoom lens”, differs from a varifocal lens in that zooming in, changing the focal length does not affect your focus. Zoom lenses used for film-making applications must have the parfocal ability in order to be of practical use. Telescopes also use parfocal lenses.
Luckily the lens I just got to replace my kit lens is parfocal. Dodged a bullet there. =)
Figure out how long the event will take place, and how long you want it to play back. Muliply your desiered frame rate with your playback time. Divide your event time with the number from the mulipation.
one-hour shot  (3600 seconds)
30-second video x 24frames = 720
3600/720 = 5
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