Appendix 1

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