24p Footage from XL2 looks interlaced?

[Mark Maness]

That is because the XL2 does not shoot in 24p. Canon has what is called Frame Mode. This is a simulated progressive look. In order to make it 24p, you’ll have to convert it to 24p.

_______________________________

Wayne Carey
Schazam Productions
http://www.schazamproductions.com
https://blogs.creativecow.net/waynecarey

[Jonathan Cohn]

Actually, I’m pretty sure the XL2 does shoot in true 24p. The DVX100a and the XL2 were the first prosumer cameras to offer true 24p. The GL2, on the other hand, has the Frame mode, which captures two frames at one time to offer a Cine-style look.

…I could be wrong though.

[Mark Maness]

You might ought to check out Canon’s website.

We had two Canon XL2 cameras about three years ago and we used the Frame Mode all of the time. The XL-H1 has 24p capabilities, but the standard def XL1 and XL2 only shoot in Frame Mode.

_______________________________

Wayne Carey
Schazam Productions
http://www.schazamproductions.com
https://blogs.creativecow.net/waynecarey

[Jonathan Cohn]

I did…straight from canon.com…

30p, or 30-frame progressive, is a non-interlaced format — the same as Canon’s Frame Movie Mode — and produces video at 30 frames per second. Progressive (non-interlaced) scanning mimics a film camera’s frame-by-frame image capture and delivers spectacular clarity for high speed subjects and a cinematic-like appearance. Shooting in 30p mode offers video with no interlace artifacts.

The 24p frame rate is also a non-interlaced format, and is now widely adopted by those planning on transferring the video signal to film. But film- and video-makers turn to 24p for the “cine” look even if their productions are not going to be transferred to film, simply because of the “look” of the frame rate. As well, the shutter speed of 1/48th per second is the standard shutter speed that movie cameras use. The combination of 24p frame rate and 1/48th perfectly mimic a motion film camera.

24p with 2:3 pulldown produces video with the look and motion of film. (24p, used in conjunction with a cine gamma curve on the XL2, produces images that have similar tonal characteristics as film.) This mode is used when the finished video is to be converted to 60i so that video can be viewed on a television. 24p with 2:3:3:2 pulldown is used when the video is to be transferred to film. The 2:3:3:2 pulldown allows editing software to extract true 24 frames a second.

[Mark Maness]

Opps… I’m sorry… We had two XL1S cameras. When it was time to upgrade Sony HVR-ZU1 was about the same price as the standard def XL2.

I apologize.

Now, an answer your original question… Are you capturing via firewire? You could select the DV NTSC 48Khz Advanced (2:3:3:2) Pulldown Removal. You may have to tweak the settings a little since I do not know the exact pulldown method. If this doesn’t work, you’ll have to remove the pulldown using Cinema Tools.

_______________________________

Wayne Carey
Schazam Productions
http://www.schazamproductions.com
https://blogs.creativecow.net/waynecarey

[Jonathan Cohn]

No problem Wayne, I figured that’s what you meant when you said 3 years ago…because I’m not sure if the XL2’s are that old.

Anyway… I am capturing via firewire and I would like to try the 2:3:3:2 to see if it solves the problem. I’ll have to check that when I get home tonight. I’ll fill you in.

Thanks for your time.

[Gary Adcock]

[Jonathan Cohn] “I did…straight from canon.com…”

that would be good- if it was correct for the type of content being shot.

How in the world can you shoot true Progressive in an interlaced format – in HD the camera you are referring to only captures at HD to tape at 60i correct ?? it does not (Cannot!) capture without adding additional redundant frames.

like SD, the interlaced frames are recombined in to a progressive frame – this is called a progressive segmented frame (PsF) and virtually all 1080 content is captured in this manner.
(yes even Sonys 700/ 900 series Cinealta cameras do this the same way)

that 1080 23.98 PsF content will always play back as 48i since this camera (and all 1080 HDV cameras) cannot record a true progressive signal.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Jonathan Cohn]

I’m confused…why are we talking about HD?
The XL2 is not HD. The camera records 24 frames progressive to 29.97 frames in miniDV format through 2:3 pulldown…unless you use the 24P advanced mode.

Right?

[Gary Adcock]

[Jonathan Cohn] “The XL2 is not HD. The camera records 24 frames progressive to 29.97 frames in miniDV format through 2:3 pulldown…unless you use the 24P advanced mode.”

there was banter in the beginning about the cameras, I was answering a later post but the principle is the same to video engineer — there is no such thing as 24p progressive in SD either, since the recording format is interlaced at 29.97 correct?

What you showed on the original images is a result of the 2 fields not being recorded as progressive but merging the2 interlaced fields to make it a progressive frame, This is very common with the the Frame mode on canon cameras.

it should look much better on an interlaced monitor than it does on your TV set.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Gary Adcock]

[gary adcock] “t should look much better on an interlaced monitor than it does on your TV set.”

Sorry that should have read

“it will look better on an interlaced monitor that it does on your computer screen”

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows