24P vs. 24PA
by Carrie Anders
Wow!! This
one is going to be interesting. I can write forever about what
DVX100 mode is better for your movie production, but let me be
honest and most importantly short and to the point with this
article.
First you must
know the two United States standards of television. The first is
NTSC interlaced which is in actuality 60 fields of interlaced lines
displayed per second. Interlaced meaning there are 30-even lines on
one side and 30-odd lines on the other side “interlaced” or
intertwined if you will to display one complete image per second.
Second is the
progressive scan mode which is very simple. This is claim to fame
for the DVX100. Each image or frame is displayed individually like a
film projector, one frame at a time. The only problem is that
project must be in the same format as which you are trying to view
it. In other words, you cannot view a project filmed in progressive
scan properly if you are watching it on an interlaced television and
vise versa.
With the
enhancement of progressive scan media and technology such as the DVX
100, progressive scan and interlaced formats are both in my opinion
equal standards for US Television and Media viewing. Now, when it
comes to film and the silver screen every one knows that it is a
progressive scan world out there. So please read carefully and try
your best to comprehend. There’s a lot of high-tech info written by
a non-high-tech kinda guy. Ready?? Let’s go!!
24P Regular:
Bottom line, 24P regular is best for your project if you
anticipate your finished movie going straight to home viewing.
Allow me to
explain. The 24P regular mode has a much smoother look to it when
viewed on a regular interlaced television. This is a result of the
DVX100 in camera 2:3 pull down. The in camera 2:3 pull down
automatically compresses and does the math for the 24 frames to
evenly display as smooth as possible as an NTSC interlaced format
which is written into 60 fields per second. The advantage of this
particular mode is the convenience of your post production work
flow. Using this mode would by-pass the procedure of having to
convert your 24P footage in to an interlaced format.
For instance, once
you capture your footage into your NLE (non-linear editing)
workstation (such as Final Cut Pro) and edit on a 60i timeline then
what you capture will not need to render because the camera had
already performed the 2:3 pull down. And if you are going to make a
straight to DVD movie then obviously there wouldn’t be a reason for
you to want your project to be displayed in a progressive mode.
Right?
(continued
on next page -
24P vs. 24PA and the DVX...)
Do
YOU have a cheap, low budget, do-it-yourself DVX100 tip or trick that
you'd like to contribute?
If so, just email it to
us and we'll post it up!
Thanks
for helping the grass roots grow!
