23.976fps or 24fps for distribution of a feature film?

[IronFilm]

Am about to start shooting a vampire comedy feature film, and am looking forward to when we get distribution (well.... hopefully!!), would they prefer 23.976fps or 24fps?

 

Also, any tips for shooting a feature with an F5 and a7S mk2 together in 4K? (the a7S mk2 is so that we've got a small gimbal camera) For instance I am thinking it is probably best they both use slog2 rather than slog3? As the slog3 could be too much of a stretch for the a7S's 8bit codec. So use slog2 with the a7S and thus do the same with the F5 as well to help match it better. 

 

On a closely related point, what is (roughly generally speaking) the prefered aspect ratio by distributors? 2.35:1 , 2.39:1 , 1.85:1 , or something else?

[IronFilm]

So I see three core options:

1) F5 with slog3 + a7Sii with slog3 (both slog3)

2) F5 with slog2 + a7Sii with slog2 (both slog2)

3) F5 with slog3 + a7Sii with slog2 (a mix, which camera doing the slog version best suited for it)

Which of these three is the best approach for a feature film?

[Mckinise]

We are shooting 24 fps in DCI 4k and creating a 1:85:1 DCP.  While modern projectors can use other framerates, we are going to plus play it safe and go with 24. 

[Hanriverprod]

If you're finishing at a post house in the US they will want 23.976. Most countries with 60hz will do post in 23.976.

[Mckinise]

2 minutes ago, Hanriverprod said:

If you're finishing at a post house in the US they will want 23.976. Most countries with 60hz will do post in 23.976.

Are you talking theatrical release?  My understanding has always been to aim for 24 fps for theatrical.  I googled DCP post production houses and found the following.  Many of other Post Production facilities make similar statements.   

 

Quote

Q: What frame rates are acceptable for DCPs?

 

 A: If you want to maximize compatibility, shoot and at edit at 24p and make a 24fps (frames per second) DCP.  If you want to qualify to win an Academy Award, you MUST have a 24fps DCP.  If you are planning on selling your film to foreign buyers, many will demand a 24fps DCP because it’s the established world-wide standard.  If you are not worried about those issues, you can make a DCP that runs at 25, 30, or 48 frames/second.  For 24fps DCPs you can edit and finish at 23.98 (technically 23.976) and the mastering facility will conform your film to true 24.00 fps.  DCPs only play in “whole” frame rates.  Video that runs at 29.97fps for example will be converted to 30.00fps for the theater.

http://hbfilmworks.com/dcp-info.html

 

[Hanriverprod]

Call any post house in the US what frame rate you should shoot on for a feature film. 

I have gone through this process from start to theatrical to tv to downloads. If you live in a country where they use 60hz the post houses will want you to shoot 23.976. 

I don't know about 50hz countries. 

 

[Luke Mason]

23.976 and 24.00 do not matter in image acquisition, they can be converted easily and safely from each other, for distribution you need both, one for TV/web, one for theatrical release.

F5 and A7 series cameras are not capable of shooting 24.00, while C300 II, GH4, 1DX II and 5D IV can.

For creative choice the aspect ratio can be anything imaginable, DCI 2.39:1 and 1.85:1 are just containers, they can be padded to contain arbitrary aspect ratios, for example, a lot of cinematographers started framing 2:1 (see Jurassic World).