24 FPS VS 18 FPS

[Patrick]

A Super8 camera I used years ago could do 16 fps and the footage looked great - that 2 fps difference from 18 was really quite noticeable. Gave the work that 1920s silent movie look, which we exploited by setting the film in the 1920s

Sounds like a fun project and I'd like to see the results. Would you happen to have any samples from this film online for public viewing?

[Nicholas Kovats]

Braxus,

Although I spotted some slight vignetting from the zoom lens the detail is astounding. Wow. What scanner was this? It did not re-interpret the actual film grain/particles significantly as the resultant scan looks like...you know...film!

[Paul Thrussell]

What scanner was this?

Gamma Ray have a Lasergraphics ScanStation, I believe.

[vintagefilm]

I have a couple of super8 filmmakers who are shooting shorts and features. One DP shoots at 24 but has us transfer at 18fps. His subject is usually surfing and he does it this way to give a slight slow-mo effect to the footage. And even on the non-surf subjects he likes the effect.The DP working on a feature is shooting 24 and we transfer at 24. If you shoot at 18 and are transferring by capturing single frames, like tiff, dpx, bmp, or avi's at non-standard frame rates, you can process pretty easily in Adobe Premier. By using the Interpret Footage command you can tell Premiere how to play back the files by specifying your shooting frame rate. If you shot at 18fps, and are outputting at 24, set up a 24 fps timeline and load the 18fps footage into it. Premier intelligently adds pull down to make the 18 to 24 conversion. It works well.

By the way, first post here. I do telecine transfers in OC, California. using several different technologies. Glad to be here! --Grace McKay ElectricPictures.tv

[Nicholas Kovats]

Welcome, Grace!

[nikonr10]

I have a couple of super8 filmmakers who are shooting shorts and features. One DP shoots at 24 but has us transfer at 18fps. His subject is usually surfing and he does it this way to give a slight slow-mo effect to the footage. And even on the non-surf subjects he likes the effect.The DP working on a feature is shooting 24 and we transfer at 24. If you shoot at 18 and are transferring by capturing single frames, like tiff, dpx, bmp, or avi's at non-standard frame rates, you can process pretty easily in Adobe Premier. By using the Interpret Footage command you can tell Premiere how to play back the files by specifying your shooting frame rate. If you shot at 18fps, and are outputting at 24, set up a 24 fps timeline and load the 18fps footage into it. Premier intelligently adds pull down to make the 18 to 24 conversion. It works well.

By the way, first post here. I do telecine transfers in OC, California. using several different technologies. Glad to be here! --Grace McKay ElectricPictures.tv

Hello Grace , Thank you for your word's of wisdom ,

[EyeSpy88]

I have a couple of super8 filmmakers who are shooting shorts and features. One DP shoots at 24 but has us transfer at 18fps. His subject is usually surfing and he does it this way to give a slight slow-mo effect to the footage. And even on the non-surf subjects he likes the effect.The DP working on a feature is shooting 24 and we transfer at 24. If you shoot at 18 and are transferring by capturing single frames, like tiff, dpx, bmp, or avi's at non-standard frame rates, you can process pretty easily in Adobe Premier. By using the Interpret Footage command you can tell Premiere how to play back the files by specifying your shooting frame rate. If you shot at 18fps, and are outputting at 24, set up a 24 fps timeline and load the 18fps footage into it. Premier intelligently adds pull down to make the 18 to 24 conversion. It works well.

By the way, first post here. I do telecine transfers in OC, California. using several different technologies. Glad to be here! --Grace McKay ElectricPictures.tv

Thanks for the input Grace. I'll keep you in mind when it comes time to telecine. I live in LA so we're practically neighbors!
-Jeremy