Barlow Elton
Forum Replies Created
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I don’t believe it’s simly line-doubling fields. It wouldn’t look as good as it does. I believe it’s doing some kind of motion-adaptive interpolation of *possibly* 48i, and that’s why it looks great. It could be some other method of progressive interpolation, but Canon has no inclination to reveal their recipe.
I have an example of 24F edited with FCP over here. https://xlcinema.com/viewtopic.php?t=28
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Barry can say with authority, but I thought it was possible to ingest via firewire and have FCP remove the “over 60” redundant frames for under/overcrank effects. You lose the efficiency of 24N recording so that you don’t record unnecessary frames, but you gain the extra recording time that P2 simply doesn’t offer yet.
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Graeme,
Great to hear your working on plug-ins for this issue. btw, isn’t there an issue in FCP with the 8bit rendering pipeline when all’s said and done?
As for the compression/noise issue…I’ve shot XL-H1 SDI straight to DVCproHD 1080i in low light scenes (sunsets of the Utah mtn. ranges, etc.) and the resultant DV100 files show nowhere near the same amount of blockies that people are complaing about from the HVX.
I think it’s a matter of signal processing, overall.
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[Jan Crittenden]”The AG-HVX200 is not a noisy camera. It has a noise level that is to be expected from a 1/3″ HD imager. In fact it is quieter than most of its competition…The HVX200 is a wonderful little camera, it just isn’t a $60,000 Varicam with a 2/3″ imager. Laws of physics cannot be denied.”
Best regards,
Jan
Why is it there’s very little complaint about this 1/3″ imager noise issue with the other cameras if the HVX is actually “quieter” than most of its competition? Like Toke said it seems to be that it’s creating large sized compression blocks and banding that some have termed “dancing pixels”. Spun any which way the camera is not performing as cleanly as people expected. Saying it’s not a 2/3″ imager and therefore “physics cannot be denied” is a bit of a cop-out. If anything, your Varicam comment would lend some credence to the theory that there was an obvious ceiling for the camera that it shouldn’t encroach upon.
People didn’t expect a miracle, but some feel they were sold a bill of goods that didn’t quite live up to the billing.
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Hey, thanks for that link.
btw, I did figure out how to do the conversion. It looks amazing, and the slow motion is amazingly smooth too.
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Seems to me Thomson would be intentionally omitting 24p for fear of cannibalizing sales(oxymoron? how many are out there?) of their Viper camera. Of course Viper is in the outer-uber-mega-stratosphere of digital cinematography kit. 9Megapixels per CCD. The only movie I’ve seen that’s used it was Collateral, which was mostly shot on F900 HDCAM.
Funny thing…my 3 year old watches a kids show called “Lazytown” on NickJr, that’s shot with the Viper. Even on SD DirecTV it’s interesting to look at. Amazingly colorful, 24p…the whole thing just pops. Looks too clean to be film, yet aesthetically is every bit as good.
go to http://www.hypercube.com if you’re curious.
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Thanks Charles, I’ll try it in Compressor 2.
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