Barry Green
Forum Replies Created
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I’ll have to defer to some FCP experts to answer your questions, as I’ve never used FCP. I don’t believe there would be flags in the analog output, so you’d probably have to capture the 60p stream and then use their frame rate converter (or some handy-dandy tool that I’m sure our beloved Graeme Nattress will likely work up!) to extract the frames. Since AFAIK the pad frames are exact duplicates of the prior frame, it should be a relatively trivial task for someone like Graeme to conform a 60p capture back to the original intended frame rate.
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They will output a 60p signal. The variable frame rates would be carried within that 60p signal, so it’ll look like 24p or 30p, but there would actually be 60 frames per second being transmitted.
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[Brian SaenzDeViteri] “While on this topic, what is the image size and pixel aspect ratio of a 720p recording and 1080i (and 1080p) recording on P2 cards?”
720p: 960x720x1.333 PAR, up to 59.94 progressive frames per second, with 4:2:2 color sampling (chroma at 480×720).1080/60i: 1280x1080x1.500 PAR, at 59.94 fields per second, 4:2:2 color sampling (chroma 640×1080).
1080/50i: 1440x1080x1.333 PAR, at 50.000 fields per second, 4:2:2 color (chroma 720×1080).
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[Rodrigo Lizana] “One thing I noticed about the specs is the lack of a 1/48 shutter speed (180 degress) and a 1080p recording option.
It does have 1/48, and it does record 1080/24p and 1080/30p. It just records them within a 60i data stream, exactly like the DVX, XL2, SPX, and SDX all do.—————–
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Also, you can use DVFilm.com’s Maker 2.21 software to convert HVX .mxf files into quicktime movies, .avi files, or even transcode to Cineform files. Editors that support Op-Atom MXF will obviously be easier to work with, as you’d avoid that additional step, but for users of Premiere Pro and Vegas, this looks like a workaround until the NLE’s get around to implementing MXF Op-Atom file support.
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The speed difference between 23.976 and 24.000 is 1/10 of 1%. When a DVX or SDX or XL2 or other 24p camera is transferred to film, it’s done frame-for-frame, and yes the audio would probably need to be adapted/stretched as well. Presumably the HVX will also run at 23.976. HDTV in the USA is based around the 59.94 clock rate, which is 0.1% slower than 60hz; since the HVX is ATSC and NTSC-compatible, it’s only reasonable to expect that it will also be 59.94hz & 23.976hz.
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The real 24p cameras run their CCDs at 24hz, capturing 24 distinct frames per second, just like a film camera does. They don’t try to reverse-extract frames out from a higher-frame-rate capture, because that would be bogus (like CineFrame 24 on the FX1). Instead the capture 24 distinct individual frames per second.
The HVX has the capability to record just those frames, when in 720p mode. All the other cameras have to (and the HVX in 1080 mode has to as well) conform the 24 frames into a 60i data stream. But that’s a process of adding fields, just like when you transfer 24fps film to 60i video. Nothing bogus happens, it’s a well-established workflow. 2-3 pulldown is introduced to round the sequence out to 60 fields per second.
[doka15] “So no real video camera records a true 24 smooth P like a film camera, right? I am not exactly sure about this that is why I am asking.”
All the true 24p cameras acquire a true, smooth, 24 progressive frames per second.
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[filmstudent] “Specifically, do you know if the 100B wil be able to shoot 16:9 w/o the need of an anamorphic lens?”
Both the 100A and 100B can do that.
[filmstudent] “You mention in your posting that you are aware of specific differences between the two Panasonic Models. Can you elaborate?”
There are about two dozen differences between them. They’re highlighted in an article on DVXUser.com at https://www.dvxuser.com/V3/showthread.php?t=36696
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Right — 1080/24p would have an effective datarate of 80mbps. Twice the bandwidth for twice the pixels; both = 6.7:1 compression.
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