Realistically, the difference


Realistically, the difference now is no longer critical at all, unless you need to squirt you video in analague to a conventional colour TV through the antenna input – and I guess we don't really do that any longer. UK PAL TV had a frame size different to US NTSC, and had different subcarrier frequencies and methods of handling the interlaced pictures and how colour was derived. Now we are in the digital domain – it's mainly historic. So 25/50 frame rates are what PAL used and the US ones, were based around 60/120, with the wierd sub-standards of drop frame 29.97.

If you have a file created on a camera in the UK, we would normally use 25 or 50 fps because it matches everything else we have – old displays VT machines etc, in the States, 30/60 makes sense. However – both of us could happily use the other system nowadays. The differences between PAL and NTSC were mainly because we handle the colour information differently – with digital files, this doesn't matter any more. Computers and other display devices only look at frame rates – so the cameras that have compositve video ouputs will be one or the other, and sticking NTSC into a PAL CRT monitor doesn't work! 

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Lighting needs run the gamut, from huge budget productions to small, DIY vloggers, and there’s something for every niche. This article will explain what to think about before buying lights and provide a list of the best video lights currently on the market.