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24p in Media 100
From a summer press release on Media 100 website below.
Is anyone using this 24p to Media 100 29.97 workflow? How does it look? Can I do this with my Media 100 7.5 (4 by 3 only) or would I need Media 100 HD?
“Shot on DVCPro 25 with a Panasonic DVX-100A camera in standard cadence 24p, the master tapes were used only twice: once for the offline and again for the batch capture online. The project was shot and edited in 16×9 letterbox at 29.97 in the Media 100.” “They couldn’t believe we shot in 24p and said everything looked much smoother than 24p video they had seen posted on other systems. I think this is because we shot standard cadence 24p with the Panasonic camera and captured into the Media 100 through the component inputs at 29.97fps. This was different from other post production workflows that capture at 24p through firewire.”
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3 Replies
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We’re using the Panasonic SDX900 in 24p mode to do commercials and I’m pretty happy with the results. The camera is recording in DVCPro50 format and using the filmlike settings. The camera does the pulldown internally and records to tape in the 29.97 world and maybe that’s where the improvement is, as opposed to firewire (in24p) input to the system and having the editor do the pulldown. I haven’t had the opportunity to compare with 24p/firewire/M100 pulldown, so I can’t speak to that.
Theoretically, the 24p camera recording to 29.97, then to editor from tape via composite/component/SDI, should work just fine on any M100 since it’s still just NTSC video.
Hope this helps.
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I just finished editing two projects with Media 100 HD, which were shot in 24p HiDef (Panasonic). I didn’t post it in HD (client decided to keep everything standard def), so I took SD out of the Panasonic HD deck into M100’s SD and used “lossless compression”… everything looks absolutely gorgeous. I did a fair amount of testing between M100’s “lossless” and 8-bit and 10-bit uncompressed, using different scenes with varying complexity of content; I honestly couldn’t see any difference between the codecs (my monitor is the Sony PVM20L5/1), and thus used “lossless” to keep drive space efficient. There were quite a number of green-screen talking heads… those I digitized at 10-bit uncompressed from the SD output of the deck. (nice being able to mix all those codecs in the same timeline, right?)
Larry Marshall
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Thanks for the input. We’re still using a Media 100i (7.5), and have a client who had some footage shot with the Canon XL2 in 24p. I told him we could shoot the additional footage he needs with our new Sony Z1 in one of the Cineframe modes and in DV mode (not HDV), and the footage should blend well (and I wouldn’t have to spring for a new system). Does this sound reasonable? I just got the new camera and don’t know its settings very well, but if I’m doing standard def and DV, the footage ought to come into the Media 100 just fine at 29.97, right?
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