There is a continuing debate on whether 24p (24 frames per second) is a more desirable format to use rather than changing over to one of the newer emerging standards. Currently there are three standards used in typical TV and movie productions 24p, 25p, and 30p. The newer formats that are now available using digital equipment and played back on HDTV systems can produce rates as high as 72p.
The question arises as to whether using some of these new available formats is beneficial or whether it can produce detrimental effects on the end product. The purpose of this article is not to put forward my own opinion, rather I would like to offer those of a respected industry profession, Mr. Stu Maschwitz.
In the interest of full-disclosure I should mention that my preference is to stick with 24p and that I believe moving to the higher rates is a mistake. However, I want to leave my opinions, and examples, for another day and another article (yes I plan to do a comparison and write my thoughts as well), but for now I want to present a video of an interview with Stu Maschwitz on the topic.
Intro for Stu taken from macvideo.tv:
âIn this, Part 2 of the MacVideo interview with Stu Maschwitz, he tells why shooting and replay at 24 frames per second is so important to the filmmaker..
Stu Maschwitz is a highly regarded director, writer and visual effects artist based in San Francisco. He has worked as a senior visual effects supervisor on many films. He enjoyed a stint working at Industrial Light and Magic and subsequently co-founded a company known as The Orphanage.
Mr. Maschwitz has worked as writer, director, cinematographer, and editor for the film The Last Birthday Card (2000). He also directed the âSong For The Lonely [Almighty Remix]â segment of The Very Best of Cher: The Video Hits Collection (2004). He studied animation at the California Institute of the Arts.
In 2007, Maschwitz authored the book The DV Rebelâs Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap for Peachpit Press. The year 2008 saw him became software director of Red Giant software. Then in October of 2009 it was announced by the Hollywood reporter that he would direct Psy-Ops.â
In this video, Stu makes some important points about frame rates, he offers great insight into the pros and cons of using 24p versus other formats. You can click on the image below to watch the interview.