[dylan604]

The worst part of incorrect refresh rates for me is on panning footage and you get those janky blocky tears in the image.

>The time between frames is tremendous from the standpoint of a video editor,

This sounds like something I've heard from people with a head full of fun stuff talking about the space between the notes. There have bee times where that absolutely makes sense, but I'm at a loss on your time between frames.

[111111IIIIIII]

> The worst part of incorrect refresh rates for me is on panning footage and you get those janky blocky tears in the image.

That sounds a lot more like rolling shutter artifacts than 3:2 pulldown. What kind of camera are you using? Are you shooting with a CMOS sensor?

https://en.m.wikipedia.org/wiki/Rolling_shutter

> This sounds like something I've heard from people with a head full of fun stuff talking about the space between the notes. There have bee times where that absolutely makes sense, but I'm at a loss on your time between frames.

Haha, fair enough. If you ever feel like diving in yourself, I passionately recommend In the Blink of an Eye by Walter Murch.

https://en.m.wikipedia.org/wiki/In_the_Blink_of_an_Eye_(Murc...

[dylan604]

It has nothing to do with 3:2 pulldown. It is all about refresh rates of the monitor. I've shot for years on global shutter (specifically Sony F55), so it absolutely 100% was not a rolling shutter issue either. The same footage can be viewed on another monitor and the tearing issue is not present.

Edit to match your edit: "The book suggests editors prioritize emotion over the pure technicalities of editing."

This totally depends on the content and level of production. I've edited content from properly staffed productions with script notes with circle takes and all that stuff. It's always fun to stack up the various takes to see how the director feels about the takes from the day of the shoot and seeing it edited context. It's also fun to see the actor's variations from take to take.

On shoots with barely enough crew so the camera op is also the boom op, it's basically all feel from the editor.

[111111IIIIIII]

> The same footage can be viewed on another monitor and the tearing issue is not present.

This is what I was hoping someone would chime in about. I have never looked into whether it would be handled differently, but I would not trade a higher resolution display regardless. Maybe it could potentially influence where I cut in certain rare situations, but sounds unlikely.

[dylan604]

Basing edits because of how footage looks on a monitor with a non-compatible refresh rate just sounds like one of those problems that strikes me at my core especially when someone acknowledges it but does it anyways. Does it matter in the end, probably not, but it still goes against everything. It’s one of those things of seeing people “get away” with things in life blissfully unawares while someone that is well versed and well studied can’t catch a break.

[111111IIIIIII]

I hope you get sleep at night. When I worked as a video editor years ago, I unfortunately had a boss who I needed to please and this kind of rabbit hole obsession would have added a significant barrier to doing so. More resolution, on the other hand, made me straightforwardly much more productive.