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Frame rates-shot vs. record
Hiyo everybody!
For starts, we shot on the HPX170P in one res/frame rate for the first two days, then a separate one for the last three days. Reason being, I found out my DP had shot the first two days in 1080i (“what? I thought we were shooting 1080p?”) Here reply was that they have yet to develop the technology to actually shoot in 1080p.
EVERYTHING I’VE LOOKED UP TELLS ME THIS IS FALSE! …can anyone clarify?
Once I found this out, I realized the last 3 days have A LOT more movement (including riding in a car and more hectic camera movement) and I told her to switch to progressive (and down rez to 720 because we were wasting too much time downloading without a reader). So here we are with the last 3 days in 720p24….I think.
Lastly, the footage has yet to be transcoded into FCP7, the 2nd ac merely copy and pasted from the P2 driver into the harddrive. She also thought we shot the entire movie at 24p.
Day 1 & 2 xml’s look like this:MXF
DV100_1080/59.94i
59.94i
12:32:37:20
12323720
2:3
16:932768
345600000
Day 3, 4, 5:MXF
DV100_720/59.94p
23.98p
17:28:37:20
17283720
16:9CAN ANYONE TRANSLATE? Do I have here what I think I have 1080i30 and 720p24???
I’m really at a loss here…. I’ve tried in fcp to set my log and transfer preferences to Apple Prores HQ but every time it goes in native DVCPROHD 1080p30 (29.97 vid rate) and DVCPROHD 720p60 (23.98 vid rate).
I’m very unfamiliar with the codecs, with all of this in fact…I usually go with what I shoot at….to keep consistent. I know there’s more versatility now.
My DP wants everything at AppleProRes4444 to get the most versatility in color correction-this seems ridiculous!! We didn’t shoot on the Red!
However, I tried it in Compressor…most luck I’ve had so far…compressor custom settings: set everything at 23.98, reverse telecine only for the interlaced and deinterlace filter, and the 1440×1080 res. Brought it into fcp, made a dvd, looks great. But I noticed interlaced artifacts on my progressive footage…no idea
And the files are huge! And I just think that codecs unnecessary. What I’m worried about is not just running up storage space but also losing sync in audio (which was shot separately) by combining frame rates.Enough of my ramblins….
If anyone can help out my workflow from import to export…i would really appreciate it. -
4 Replies
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This is one of the most confusing things, the way it is on the cameras. The HVX200 and the HPX170 both can shoot progressive in 1080 but it is segmented frames. The cameras display it as 1080i/24pA and 10801/30p. Segmented frames is not the same thing as interlaced fields. The camera takes one solid frame and then breaks it up into 1/2 frames to write to the card. Then when you transfer the footage (if done correctly) your progressive segments are made into true progressive frames. So in FCP you have a true 23.98 or 29.97 progressive sequence.
2 Segmented frames = 1 progressive frame
2 interlaced fields DO NOT = 1 progressive frame.If the camera was set on 1080i/24pA and you set the Log and Transfer pref to Removed duplicate frames or Advanced Pulldown, after the clips are transfered, they will be 23.98 in the bin.
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The 170 shoots in the format DVCPRO HD it will only injest via log and transfer as DVCPRO HD not prores.
If you have to have the prores (you won’t gain anything) you’ll need to transcode all your qt’s after the fact.
You should have just stayed in the 1080 mode once u realized it.
I would convert which ever you have less of (1080?) to match the majority of your footage for edit.Chris Tompkins
Video Atlanta -
Thanks to both Mike and Chris!
Question for Michael:
I’ve read about what you’re saying, which to me means there should be no interlace artifacts. However, I still have interlace artifacts that I don’t have on the progressive footage in native form. Am I missing something or does this mean we shot in interlaced in 1080?Question for Chris:
Why exactly would you have stayed on 1080? Even considering interlace doesn’t handle movement as well as progressive. -
[Tanya Meronk] ” I still have interlace artifacts that I don’t have on the progressive footage in native form”
How are you viewing your footage? If the Viewer or canvas is set to anything but 100% it is down sampling the image, cannot be use to judge quality on any level. If you are going to an external video monitor that does not support progressive video, the video card has to be set to reintroduce the interlace by adding the pulldown back in. If you have your canvas set to 100% you should be able to judge the image of the footage.But this is only if, and this is a huge if, the footage was transferred correctly and the camera was set on 24pA and not just 24p.
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