I think Roger summed it up best. Remember that in the vast bulk of professional and semi-professional / independent motion picture production you are shooting for a fixed target. All of your footage is consistent.
In a conversion, we begin to get into countless complexities. Duplicate frames? Drop? Etc. And even then, the discussion doesn't even begin to engage colourspaces and other deeper questions. Optical flow is within the domain of post production visual effects, not editing per se. It would likely be cut with proxy footage and generated in the post production phase. The bottom line is that converting frame rates in a system that is by design perfectly frame accurate is likely adding complexity where it isn't likely warranted. _______________________________________________ Bf-committers mailing list [email protected] http://lists.blender.org/mailman/listinfo/bf-committers
