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Old 01-14-2006, 06:12 AM
Don Barto Don Barto is offline
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Join Date: Apr 2000
Location: Timonium, MD, USA
Posts: 313
Default Re: The C.A.S. and Digidesign Present

Yes, thanks again for the wonderful link. These are the kinds of things I personally lie awake at night pondering...usually the one or two nights a year before I shoot a filmed furniture retailer spot using one of my clients' aged PD-2...I wonder about the signal path at the transfer house that pulls down our 48K 30fps DAT tapes on their way to 29.97 48k digibeta...analog for sure in my neck of the woods... And if I shot 30fps 48.048k instead, would it be easier for the transfer house to maintain an all-digital audio signal path... This seminar certainly gets it all straight in my head, and reinforces the concept that good communications between all involved is perhaps the most powerful tool at our collective disposal. And it's refreshing to be in the (virtual) presence of folks who ponder all of this a lot more often than one or two nights a year!

But there is one bit of minutia I have completely lost sight of over the years — I used to know the answer but the details have left me: exactly why did 29.97fps need to come about? I know 30 fps somehow clashes with our 60hz mains power...but what are the actual nuts and bolts of all that (it all came about in my lifetime, but as it was unfolding, I was more interested in making a good crystal radio). And how long does anyone think the 29.97/23.976 bump in the road will remain. With current technology, would it not be a simple mater to just have both film and TV run at 24fps — and be done with all of this SRC and pull up/down and drop frame and needless excursions from and back to the digital domain? We'd all have to buy new TVs but the world would be a better place, I guess...

Please excuse both my ignorance and my attempt at humor within such an esteemed thread.
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