Return-Path: Received: from mail-ob0-f169.google.com ([209.85.214.169] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4669431 for AE-List@media-motion.tv; Wed, 28 Mar 2012 20:42:16 +0200 Received: by obbta14 with SMTP id ta14so1813777obb.28 for ; Wed, 28 Mar 2012 11:42:32 -0700 (PDT) X-Google-DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=google.com; s=20120113; h=mime-version:x-originating-ip:in-reply-to:references:date :message-id:subject:from:to:content-type:x-gm-message-state; bh=yhVFHNOOZX17MeqzDqdYP8fIjHORrfkCF4DoOg0MUFo=; b=J2d4pxoJ6TVWF2go5dCCC49R4MTtCga17uXSbETqMDznbMC1PvFU9zLrBSObi2h6Tf ZgakIX8yVEbc/acOvsUambLhTnq9p3wgFmxZe9GbhDDXH3XvW1Nq0EELoEnd0BFShmcg pyy0wk6uCSRxebAbWUrEIxTtTltjIhUca0eZd+0fCeLXCmi/je9we0L69NjLSqkhpshn 3JaADH6slQ88FC7V+CDI+kcJ+w/L0WJd9Pi5NWp9lfzhfnB0GwtGBNITJuy9HUT+2UxO gxrlNwBLKon6wwK89iKFw2uMEKjRxrO2aFebg/2rQ3ty96RADe+uceZqF1qxaGOWZQdr Vq/Q== MIME-Version: 1.0 Received: by 10.182.139.33 with SMTP id qv1mr11521533obb.10.1332960151883; Wed, 28 Mar 2012 11:42:31 -0700 (PDT) Received: by 10.182.11.73 with HTTP; Wed, 28 Mar 2012 11:42:31 -0700 (PDT) X-Originating-IP: [207.126.103.130] In-Reply-To: References: Date: Wed, 28 Mar 2012 13:42:31 -0500 Message-ID: Subject: Re: [AE] 24fps workflow From: Brian Higgins To: After Effects Mail List Content-Type: multipart/alternative; boundary=e89a8f9219585a4fba04bc51f859 X-Gm-Message-State: ALoCoQnBNSkobFYqllSiA7q6axvKFtr2FdySfnz+rkr1F1jvW2ng+xq3HydSEkNzdrPfxCqNhq5q --e89a8f9219585a4fba04bc51f859 Content-Type: text/plain; charset=ISO-8859-1 23.976 is amazing if you're dealing with progressive footage. If most of your footage is legitimately interlaced (ie different info on every field, not just 23.976 with 3:2 pulldown), then you should stick with 29.97. If you can easily get back to progressive land, it's really, really great. Note that you'll want to work at 23.976 and not 24 unless you're going to film. -b On Wed, Mar 28, 2012 at 1:37 PM, McCray, Micheal < MMcCray@scrippsnetworks.com> wrote: > Experts, > > Our facility has a video standard of 1080i, 29.97fps. Sometimes we receive > footage shot at 23.98 and/or 29.97, edit at 29.97, create graphics at > 29.97 and output for broadcast at 29.97. We have recently have been doing > more work for international markets, and had someone create some NTSC as > well as PAL Blu-Ray discs for us. > > We were given an outside recommendation to receive all footage at 24, edit > at 24, and create graphics at 24, to be versatile for 29.97 and 25fps > standards. > > Does anyone currently work like this and/or has anyone made a recent > transition to this workflow. Are there any other considerations in > switching over other than just setting our projects at 24? I appreciate > any insight or suggestions. > > Thanks, > Micheal McCray > > > +---End of message---+ > To unsubscribe send any message to > -- brian higgins | senior vfx artist Sol Design 312.706.5500 higgins@soldesignfx.com soldesignfx.com --e89a8f9219585a4fba04bc51f859 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable 23.976 is amazing if you're dealing with progressive footage.=A0 If mos= t of your footage is legitimately interlaced (ie different info on every fi= eld, not just 23.976 with 3:2 pulldown), then you should stick with 29.97.= =A0 If you can easily get back to progressive land, it's really, really= great.=A0 Note that you'll want to work at 23.976 and not 24 unless yo= u're going to film.

-b

On Wed, Mar 28, 2012 at 1:37 PM, M= cCray, Micheal <MMcCray@scrippsnetworks.com> wrote:
Experts,

Our facility has a video standard of 1080i, 29.97fps. Sometimes we receive<= br> footage shot at 23.98 and/or 29.97, edit at 29.97, create graphics at
29.97 and output for broadcast at 29.97. We have recently have been doing more work for international markets, and had someone create some NTSC as well as PAL Blu-Ray discs for us.

We were given an outside recommendation to receive all footage at 24, edit<= br> at 24, and create graphics at 24, to be versatile for 29.97 and 25fps
standards.

Does anyone currently work like this and/or has anyone made a recent
transition to this workflow. Are there any other considerations in
switching over other than just setting our projects at 24? I appreciate
any insight or suggestions.

Thanks,
Micheal McCray


+---End of message---+
To unsubscribe send any message to <ae-list-off@media-motion.tv>



--
brian higgins | senior vfx artist
Sol =A0Design



--e89a8f9219585a4fba04bc51f859--