I'm know, I'm brining this thread monstrously off topic, but there are a
few more things I need to respond to... :)


> To me, the "distance" theory sounds too much like rationalisation.

Think about it this way: The smooth motion of 50hz and 60hz is far closer
to what our eyes see in reality, so when we see that smooth video on
screen, our minds bring us more directly and literally into what we see;
we are the camera.  Artistically, as a director, you don't want that most
often.  Proper camera shots are always symbolic and meaningful, and
truthfully, quite far from reality.  The audience isn't literally directly
above the action, looking down in a constrained and ordered view, but
constrained and ordered --that's what the audience is supposed to feel
about what they're seeing.  When the smooth motion brings the audience
into the lens --oops, no, stop flying.


> For decades, smooth motion and low production values went hand in hand.

True true, the inexpensiveness of video allowed many people who shouldn't
be behind a camera to be, and the efforts they created were horrifying. 
Are still horrifying.  But have you ever seen a something done with high
production values shot on video --even just one shot or two out of many
24p?  It's a very strange moment when that smooth motion kicks in.  More
than just the sudden contrast from the 24p, that literalness of "you are
the lens" is aesthetically inappropriate in almost all cases.


Again, I'm not at all arguing that Cinelerra needs to work well with
interlaced video; it does indeed.  I'm just, at this point, trying to
stress the validity of 24p.

And, by the way, that's a very interesting though about the
split-the-fields-into-frames-apply-fx-then-back (errh?) you had.  I've
thought of splitting the fields into frames for slow motion purposes, but
never going back to interlaced.  In fact, I've never seen this technique
in any existing editor, no matter the level of professionalism or cost.

'twould be an interesting and notable contribution to Cinelerra.


-=Derek


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