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Mixing DV Formats<br />
When Shooting Digital Video<br />
If you need to mix 24PA and 24P in a project, this is not a problem. Once reversed, all 24P (23.98)<br />
is the same. This is not the case when mixing DV formats. While DV, DVCam, and DVC Pro can<br />
be mixed in a project, these formats should not be mixed with DVC Pro 50 or DVC Pro HD. These<br />
formats can all be edited into the same timeline and rendered to the format of that timeline. However,<br />
the renders do not look nearly as good as proper transfers made tape-to-tape before capture. This is<br />
defi nitely true of HDV. This format is not compatible with any of the other DV formats; however,<br />
any video format can be dubbed to HDV tape-to-tape just as HDV can be dubbed to any other format.<br />
These dubs require very specialized equipment and should be done in a reputable postproduction<br />
facility.<br />
Shooting HD Digital Video at 23.98 or 24 FPS<br />
Figure 2.6 shows the shooting of HD for a video project. Some professional HD Cam and DVC Pro<br />
HD cameras shoot unusual frame rates, such as 23.98, 24, 25, 29.97, 30, 50, 59.94, and 60. Often,<br />
the higher frame rates are used to achieve slow motion, but these frame rates can be used for other<br />
purposes including special effects and conversion to European PAL format. As in standard defi nition,<br />
23.98 is often used for its “fi lm look” and ability to transfer to fi lm. It can also be used on HD DVDs.<br />
While HDV can be shot at 23.98 FPS, unlike other DV formats, this requires special cameras and<br />
other equipment for both shooting and capture.<br />
Figure 2.6 Director of Photography Gianny Trutmann shooting All About the Music on stage one at<br />
Brooks Institute using the Panavision version of the Sony F900<br />
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