Pseudo 24P Postproduction
January 8, 2003
PAL, Progressive Scan, and Video to Film transfers go well together like chocolate and peanut butter, however, like the classic Reeses commecial, sometimes the collision can get a little messy. For filmmakers shooting DV features and shorts, many post facilities suggest origination on PAL using a camera capable of progressive scanning. Why is this so? Does this wisdom extend to NTSC? And what should we watch out for? Progressive scan and movie mode appear in lots of camera literature touting it as the answer to something. What was the question in the first place?
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