DSE - 50i is better than 60i?

FrankFarian wrote on 1/26/2005, 4:20 PM
Hi Spot.

Heard good things about your presentation at Sundance with Z1 from my boss who attended...

Now that you've had (hopefully) ample time shooting with Z1 in your possession, can you now put to rest the debate regarding NTSC people who hope that shooting 50i ("PAL") vs. 60i ("NTSC") yields a superior image due to less compression?

Mike at www.hdforindies.com seems definitely to have received some info suggesting this and was wondering if it's been confirmed?

thanks!

Comments

FrankFarian wrote on 1/28/2005, 9:10 AM
Is Spot around?

Help me Obi Wan Kenobi - you're my only hope.
JohnnyRoy wrote on 1/28/2005, 9:13 AM
> Is Spot around?

Spot is at the Sundance Film Festival and probably only has limited (dial-up) internet access in the evenings.

~jr
Hulk wrote on 1/28/2005, 12:46 PM
Although it may appear at first glance that the decreased frame rate may offer increased image quality since the data rate is the same, this is not necessarily true for temporally based compression, such as MPEG-2 TS.

The frame-to-frame (or field) redundancy is less with lower frame rates, lowering effective compression capability of the encoder.

Just something to consider.

As is always the case, TINFL.

- Mark
farss wrote on 1/28/2005, 1:59 PM
The only advantage I could see for shooting 50i HDV if you live in NTSC land is if you were going to film out. You can de-interlace very effectively to 25p and treat it as though it was 24p and job done. The 4% shift in vision speed no one will notice, probably will not even pick the difference in audio and you can lay the M&E against the 24p.
Bob.
Laurence wrote on 1/28/2005, 2:29 PM
In NTSC land, the ideal would be to shoot projects destined for film on PAL and projects destined for video on NTSC. Of course most projects destined for film are also destined for DVD so it's a compromise no matter what you do.
Spot|DSE wrote on 1/28/2005, 10:00 PM
Johnny called it right...I was only checking in occasionally. One more day of this mess of stargazers, rough traffic, and crazy days at the largest film fest in the US.
The only benefit of shooting to 50i in NTSC land, is for when you're going to film out. I don't recommend shooting CF24 for film, which is what Mark and I refer to in the HDV book. I DO recommend shooting CF25, or CF30, however.
CF25 is what was used by the J.A.G. folks, because they were matching 35mm and F900 at 23.98, but the 4% drop was no biggie for them, and they weren't using the audio anyway. I've seen the footage on LCD, 19' projection screen, and plasma; at CF 25, it was frickin' awesome. I wish Paramount would allow the footage to be shown. On the other hand, I've got some incredible footage that I shot (lucky shot) that shows this very well. I'll try to post over the weekend.
It's interesting that DVFilm would have such significantly different findings than the folks at Paramount or BandPro, a well-respected dealership with possibly the greatest HD team on the planet.
Who was your boss, and did he introduce himself?

I'm tellin' ya, HDV was the TOTAL rage at Sundance.
http://www.sundancemediagroup.com/articles/Sundance05.htm