Return-Path: Received: from gateway14.websitewelcome.com ([69.93.154.35] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP id 4755049 for AE-List@media-motion.tv; Sat, 23 Jun 2012 02:55:24 +0200 Received: by gateway14.websitewelcome.com (Postfix, from userid 5007) id 9609F8EA005A7; Fri, 22 Jun 2012 19:58:23 -0500 (CDT) Received: from gator1184.hostgator.com (gator1184.hostgator.com [174.121.151.98]) by gateway14.websitewelcome.com (Postfix) with ESMTP id 811F18EA00587 for ; Fri, 22 Jun 2012 19:58:23 -0500 (CDT) Received: from [24.167.166.243] (port=52606 helo=Neptune) by gator1184.hostgator.com with esmtpa (Exim 4.77) (envelope-from ) id 1SiEgB-0007ph-7w for AE-List@media-motion.tv; Fri, 22 Jun 2012 19:58:23 -0500 Reply-To: From: "Stephen van Vuuren" To: "'After Effects Mail List'" References: In-Reply-To: Subject: RE: [AE] frame rate weirdness Date: Fri, 22 Jun 2012 20:57:59 -0400 Organization: SV2 Studios Message-ID: <007f01cd50db$3c0e9160$b42bb420$@sv2studios.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0080_01CD50B9.B4FDDBC0" X-Mailer: Microsoft Outlook 14.0 Content-Language: en-us Thread-Index: AQJmcKZp4tH5otac5b3768tcMOoUQZXU0eKQ X-AntiAbuse: This header was added to track abuse, please include it with any abuse report X-AntiAbuse: Primary Hostname - gator1184.hostgator.com X-AntiAbuse: Original Domain - media-motion.tv X-AntiAbuse: Originator/Caller UID/GID - [47 12] / [47 12] X-AntiAbuse: Sender Address Domain - sv2studios.com X-BWhitelist: no X-Source: X-Source-Args: X-Source-Dir: X-Source-Sender: (Neptune) [24.167.166.243]:52606 X-Source-Auth: stephen@sv2studios.com X-Email-Count: 2 X-Source-Cap: c3RlcGhlbnY7c3RlcGhlbnY7Z2F0b3IxMTg0Lmhvc3RnYXRvci5jb20= This is a multipart message in MIME format. ------=_NextPart_000_0080_01CD50B9.B4FDDBC0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit >Very few of them seem to understand anything about frame rates, pulldown, interlacing, etc. It's like editors never go to school for this, or does the school know enough to teach them the ins and outs? And FWIW, our video training courses on interlacing and pulldown are the least-watched ones we created. It is bizarre. I find this a lot in my DCP work. It's amazing how many people start on production with budgets in the hundreds of thousands or low millions with basic errors in frame size, frame rates, interlacing, pulldown - docs and narrative projects. You could dismiss it as "too technical" but I think that's very wrong as both creating high quality, avoid artifacts and creatively understand how frame rates, interlacing affect the feel of project seem fundamental to a successful production. And Chris, I bought this when it was released. I had quit my corporate IT job a few months before and this book and Adobe's Classroom in a book was what I used to jump start my return to filmmaking - especially your stuff about frame rates, pulldown and interlacing as I was obsessed with getting a film look from the Canon XL1 setup I had also just bought: http://www.amazon.com/Creating-Motion-Graphics-Effects-CD-ROM/dp/0879306068/ ref=la_B001JRX9PQ_1_6?ie=UTF8 &qid=1340412683&sr=1-6 stephen van vuuren 336.202.4777 http://www.sv2dcp.com/ http://www.sv2studios.com/ http://www.outsideinthemovie.com/ A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later. -Stanley Kubrick ------=_NextPart_000_0080_01CD50B9.B4FDDBC0 Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

>Very few of them seem to understand anything about frame = rates, pulldown, interlacing, etc. It's like editors never go to school = for this, or does the school know enough to teach them the ins and outs? =

And FWIW, our video training courses = on interlacing and pulldown are the least-watched ones we = created.

 

It is bizarre. I find this a lot in my DCP work. It’s amazing = how many people start on production with budgets in the hundreds of = thousands or low millions with basic errors in frame size, frame rates, = interlacing, pulldown – docs and narrative = projects.

 

You could dismiss it as “too technical” but I think = that’s very wrong as both creating high quality, avoid artifacts = and creatively understand how frame rates, interlacing affect the feel = of project seem fundamental to a successful = production.

 

And Chris, I bought this when it was released. I had quit my = corporate IT job a few months before and this book and Adobe’s = Classroom in a book was what I used to jump start my return to = filmmaking – especially your stuff about frame rates, pulldown and = interlacing as I was obsessed with getting a film look from the Canon = XL1 setup I had also just bought:

 

http://www.amazon.com/Creating-Motion-Graphics-Effects-CD-ROM/dp/087= 9306068/ref=3Dla_B001JRX9PQ_1_6?ie=3DUTF8&qid=3D1340412683&sr=3D1= -6

 

stephen van vuuren

336.202.4777

 

http://www.sv2dcp.com/<= /b>

http://www.sv2studios.com/<= /span>

http://www.outsideinthemovie.com/=

 

A film is – or should be – more like music than like = fiction. It should be a progression of moods and feelings. The theme, = what’s behind the emotion, the meaning, all that comes = later.

–Stanley = Kubrick

 

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