E
ew8049
Guest
On European productions film is often shot at 25fps (even if it will be a theatrical release and not a made for TV / video). With the advant of HD productions, the issue continues for the sake of ease in post.
On a film which was shot on HiDef at 25fps, and will go to Filmout on an ARRI we are faced with an option of attempting to preserve the speed of the film as it was cut.
If we film out as is, we will be approximately 4% slower (and longer) in the cinema (pprojected at 24fps)! Sound will be pitched down as well. Past experience shows that this is not as critical in action fast cut films, but can be detremental with slow dramas - a situation with which we are now faced.
The question is - What would be the cleanest way to re-calculate or convert from 25 to 24 our color timed material (maintaining that a second remains a second), prior to filmout?
Sound will be mastered against the final print, and cut against the 24/25 telecine.
Thank you in advance.
David
On a film which was shot on HiDef at 25fps, and will go to Filmout on an ARRI we are faced with an option of attempting to preserve the speed of the film as it was cut.
If we film out as is, we will be approximately 4% slower (and longer) in the cinema (pprojected at 24fps)! Sound will be pitched down as well. Past experience shows that this is not as critical in action fast cut films, but can be detremental with slow dramas - a situation with which we are now faced.
The question is - What would be the cleanest way to re-calculate or convert from 25 to 24 our color timed material (maintaining that a second remains a second), prior to filmout?
Sound will be mastered against the final print, and cut against the 24/25 telecine.
Thank you in advance.
David
