Return-Path: Received: from mail-we0-f169.google.com ([74.125.82.169] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4669457 for AE-List@media-motion.tv; Wed, 28 Mar 2012 21:21:33 +0200 Received: by werj55 with SMTP id j55so918393wer.28 for ; Wed, 28 Mar 2012 12:21:50 -0700 (PDT) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=subject:references:from:content-type:in-reply-to:message-id:date:to :content-transfer-encoding:mime-version:x-mailer; bh=iReCH+a+G6EvYfpVWcOGNvIN/59cSb86dib/CEWmRbY=; b=qGz4h8ZqtSZXh9i8w2QM4YpM5U6ldzWtaHk8Ia5DWRr3p+jezAsgVuNailamv2CwTS EZIQ8YK323UzVqIaQ8J/Xzjg5yM8dOMMI88KG4mQiDqQQSxwoTiwsAePasa5gjVmMFXg a9yNeyZxSQP/SqOWrN/QNENvx+f9r8p0r6xQoMO5HTxZTJOATap6fqjPDr0neGGFovNZ LaIDXZG4W4r5YQvc50y2c1hlzqIWbyMWgvRToylayrVE/ujJ0jEcxep26KL+AtGivfjQ c0ZkgX1SPTAAir1XSDJzn3CyeJeGx8ze0zATW6+6pUDC67jVEJ+3MzuFSoAhYuG2n8yx I6zg== Received: by 10.180.88.199 with SMTP id bi7mr761998wib.12.1332962510529; Wed, 28 Mar 2012 12:21:50 -0700 (PDT) Return-Path: Received: from [94.44.218.47] (apn-94-44-218-47.vodafone.hu. [94.44.218.47]) by mx.google.com with ESMTPS id j3sm16998815wiw.1.2012.03.28.12.21.46 (version=TLSv1/SSLv3 cipher=OTHER); Wed, 28 Mar 2012 12:21:49 -0700 (PDT) Subject: Re: [AE] 24fps workflow References: From: Szabo Gergo Content-Type: multipart/alternative; boundary=Apple-Mail-8398D9B2-1EC2-4BEC-B517-BDC53282D8D6 In-Reply-To: Message-Id: <73E54880-29A8-45AC-8F46-9B116FE1B7E3@gmail.com> Date: Wed, 28 Mar 2012 20:52:49 +0200 To: After Effects Mail List Content-Transfer-Encoding: 7bit Mime-Version: 1.0 (1.0) X-Mailer: iPhone Mail (9A405) --Apple-Mail-8398D9B2-1EC2-4BEC-B517-BDC53282D8D6 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=utf-8 I am so happy because in Europe is only 25i or p is available :)) So simple and easy Gary Az iPhone k=C3=A9sz=C3=BCl=C3=A9kemr=C5=91l k=C3=BCldve 2012.03.28. d=C3=A1tummal, 20:42 id=C5=91pontban Brian Higgins =C3=ADrta: > 23.976 is amazing if you're dealing with progressive footage. If most of y= our footage is legitimately interlaced (ie different info on every field, no= t just 23.976 with 3:2 pulldown), then you should stick with 29.97. If you c= an easily get back to progressive land, it's really, really great. Note tha= t you'll want to work at 23.976 and not 24 unless you're going to film. >=20 > -b >=20 > On Wed, Mar 28, 2012 at 1:37 PM, McCray, Micheal wrote: > Experts, >=20 > 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. >=20 > 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. >=20 > 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. >=20 > Thanks, > Micheal McCray >=20 >=20 > +---End of message---+ > To unsubscribe send any message to >=20 >=20 >=20 > --=20 > brian higgins | senior vfx artist > Sol Design > 312.706.5500=20 > higgins@soldesignfx.com > soldesignfx.com >=20 >=20 >=20 --Apple-Mail-8398D9B2-1EC2-4BEC-B517-BDC53282D8D6 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=utf-8
I am so happy because in E= urope is only 25i or p is available :))

So simple a= nd easy

Gary

Az iPhone k=C3=A9sz=C3=BCl=C3=A9= kemr=C5=91l k=C3=BCldve

2012.03.28. d=C3=A1tummal, 20:42 id=C5= =91pontban Brian Higgins <higg= ins@soldesignfx.com> =C3=ADrta:

23.976 is amazing if you're dealing with progressive foota= ge.  If most of your footage is legitimately interlaced (ie different i= nfo on every field, not just 23.976 with 3:2 pulldown), then you should stic= k with 29.97.  If you can easily get back to progressive land, it's rea= lly, really great.  Note that you'll want to work at 23.976 and not 24 u= nless you're going to film.

-b

On Wed, Mar 28, 2012 at 1:37 PM, Mc= Cray, 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 <ae-list-off@media-motion.tv>



--
brian higgins | senior vfx artist
Sol  Design
<= span style=3D"font-size:11px">312.706.5500 



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