24P and FILMLOOK® FAQ

FREQUENTLY ASKED QUESTIONS ABOUT 24P AND FILMLOOK®

What is 24P?

24P, or more accurately 24 frame progressive image video, is a method of capturing images very similar to the way a film camera does, by recording images 24 times per second without the artifacts an interlaced video camera can introduce. The result is images that move and look like film origination, but without the film.

What does FILMLOOK® have to do with 24P video?

Sony, Panasonic and Thompson have taken licensing agreements for FILMLOOK's 24P patents, with more camera manufacturers in negotiation for future license agreements.

If 24P video already has the appearance of film, why do I need color correction?

When shooting 24P video it is sometimes necessary to engage in some color correction or color enhancement in order to make minor adjustments in exposure level, gamma, or color balance. While some adjustments can be made in the field it is strongly recommended not to adjust gamma, stretch or compress black level or white level unless these adjustments are done under controlled lighting conditions and with a carefully calibrated broadcast monitor. Once adjustments are made in the field it may be difficult if not impossible to undo a badly adjusted gamma or crushed black level in post, for example.

My post house can do color correction. Why should FILMLOOK® do the color correction on my 24P project?

Despite the hype surrounding 24P cameras, it is still a video image that is being recorded by the camera. These video images can appear flat and unappealing without image enhancement. This is where our experience in film simulation comes in.

FILMLOOK Inc.'s da vinci 2K system can accommodate 24P HD origination. Our Sony CineAlta 24P monitor is capable of direct viewing of 24P images with no conversion to interlace and no pulldown artifacts. Making videotape production look like film is FILMLOOK's specialty. We at FILMLOOK Inc. are uniquely qualified to enhance an HD video project that was shot in 24P. After all we invented it.*

For over (16) years we have given video originated direct-to-video movies, award-winning documentaries, network programs, and independent movies the look, texture, and color of film origination. No one else has had as much experience at film simulation and color enhancement for video than FILMLOOK®. Our patents and license agreements are testimony to our expertise in the field of 24P HD video origination. In short, we know how to make video images look like film.

* The scope of the invention relating to 24P is set forth in U.S. Patents 5,335,013, 5,475,425, 5,831,673.

I'm a producer with a limited budget, and I've heard about a DV camera that can record in 24P. How can FILMLOOK® help?

Again, our reputation, experience and dedication to giving video productions the look, texture, and appearance of film origination is well known among independent producers, film schools, and production companies. Our ability to enhance your production by creating a consistent and balanced "look" throughout, or even creating different looks from the same material (i.e. day-for-night, golden hour, bleach-bypass, etc.) will add immeasurable production value to your project, whether it is high definition or standard definition 24P origination.

What should I be aware of when shooting with a 24P camera for FILMLOOK®?

The same care and attention you would use when shooting film applies to shooting with a 24P camera. Use high quality film or lighting instruments. You may use HMI, tungsten, bounce panels, Kino-Flo ® or sunlight just as you would with a film project. Gels may be used to balance color temperatures or for effect as well.

We encourage the use of optical filters (ProMist, diffusion, polarizers, gradients, ND, netting behind the lens) to soften the image, control exposure or to alter depth of field. Use a shutter duration of 1/48 th of a second or faster. Watch for unintentional overexposures, do not crush blacks, and watch for specular reflections (Hot Spots). Keep detail enhancement in the camera under control. We recommend using traditional film camera movements such as dolly/crane shots, Steadycam ® , pans, tilts and zooms. Consult the American Cinematographer handbook regarding rates of panning and camera movement versus focal length for minimizing "strobe" or "judder."

Do not expose the same way you would for negative film. Instead expose as if it were reversal film stock.

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