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CHAPTER TWENTY-SIX
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THE 24-FRAME FILM AND 60 HZ VIDEO DEBATES
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Over time, the emerging dialectic between the proponents of film imaging and television imaging would speak of the subtle storytelling nature of the former in contrast to the startling visual presence of the latter Ardent supporters of the 24-frame rate of film speak of a video look that is too real, and they largely attribute this to the much higher picture capture and display rate (with television lighting, and other practices, also substantially contributing to this look) Within the enduringly futile debates between video and film, the superior temporal resolution latent within television portrayal would be hopelessly pitted against the superior narrative capability of shuttered 24-frame film In attempting any creative comparisons, quite different languages were used by the two sides All of the disconnects that endure in communication to this day between advocates of motion picture film imaging and those of television imaging stem first and foremost from an inability to objectively recognize and adequately describe the relative merits of both picture capture rates Yet, they are both very important
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THE FILM LOOK A CLOSER LOOK
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In this new era of compelling choices among production media, it has become especially important to better describe all that constitutes the treasured film look sought by many producers and directors of photography (DPs) It is far too simplistic to attribute the entirety of that look to the 24 fps capture rate Key elements of that film look can, in fact, be achieved with either 24-frame or 60-field high definition (HD) video Primary contributors to the many dimensions of imagery that collectively constitute the film look are: tonal reproduction, color reproduction, exposure latitude, and picture sharpness Exposure index (operational sensitivity of a specific camera system) refers to the capture capability under specific levels of scene illumination
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USING 1080/24P OR 1080/60I FOR DIVERSE PRODUCTION APPLICATIONS
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Today, digital HD can rank with the best of 35 mm motionpicture film in each of these dimensions of the picture Images shot in 24-frame HD, however, retain one singular advantage over their 60 Hz counterparts; they use progressive scanning (as opposed to television s interlaced scanning), which presents each picture in its entirety, one at a time This increases the vertical resolution and reduces some associated fast-motion edge-artifacts This may or may not be important, depending on the particular degree of picture sharpness sought by the producer (after all, filtration is commonly employed to curtail excessive picture sharpness for certain scenes) Otherwise, digital HD and 35 mm film are essentially on a par in terms of the remaining three key picture attributes Other critical dimensions of the image relate to the specific craftsmanship of cinematographers as they exercise key aspects of camera optics (see Figure 261) Certainly, traditional filmstyle lighting, optical filtration, and use of matte boxes can all be applied equally to a digital HD camera (24 Hz or 60 Hz) as
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Choice of Film Format:
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Lines Filtration Matte
Camera Characteristics rate fps Shuttering
Frame
Craftsmanship of the Cinematographer
Recorder Characteristics Film Stock Digital Format Speed FIGURE 261 imagery The separate contributors to the final Look of captured
CHAPTER TWENTY-SIX
to a film camera A most crucial other dimension of the picture one that can be skillfully used to impart a very special attribute to the look of the scene is that of depth of field Here again, there remain significant optical differences between the 35 mm optical film format and the 2/3-inch CCD chip that captures light for HD photography The great advantage in exposure index (sensitivity) of the contemporary HD camera will, however, allow for a higher degree of neutral density filtering and associated lens-aperature setting That, in turn, facilitates the use of shallow depths of field in the HD camera (which can come remarkably close to the images created with a 35 mm film camera) for what is generally sought in subtle image portrayal In the case of Super 16 mm film, parity in depth of field can readily be achieved with the 2/3-inch HD camera Thus, the creative discussion ultimately reduces to the one final picture dimension one that s associated with motion capture and portrayal and that s the issue of 24 versus 60 pictures per second That, in turn, depends on the creative aspirations of the producer and the DP for each particular production If 24 fps is important to add some final dimension of the film look, then that is what should be employed If smooth motion rendition is more desirable, then the 60 Hz capture makes more sense The choice of either 24 or 60 pictures per second is readily available The choice of what is ultimately used on a given shoot is dependent upon program genre
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