Bill Ravens
Forum Replies Created
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I love the way people “take” others’ work without reference. The original work for this matrix was done in my own lab, according to the procedure popularized by Paulo Ciccone for the JVC HD110. Indeed, the black settings are for VERY carefully controlled lighting situations. For everyday use, a black setting of -4 will yield more headroom, less crushed blacks. My negative experience from sharing my work will, most assuredly, make me think twice before I post info like this again.
Philip Bloom was mature enough to credit me for this matrix in his post. I expect others’, less mature, to do the same.
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Letus Extreme
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For those people on a PC, the following software procedure works quite well:
Import your footage, encoded in a lossless intermediate file like CanopusHQ, into VirtualDub. Apply a RESIZE filter with Lanczos selected. Select “deinterlace”. Even if your footage is progressive,, select the deinterlace button. Render. -
Pardon me for jumping in. I’ve finally started trying other solutions to down-rezzing HD for SD. I’ve had very good success with rendering to an HD intermediate format like Cineform, than down-rezzing to SD in VirtualDub. VDub has a resize filter with several different algorithms, including Lanczos, which work very well. There is also a free plugin for VDub that deflickers very well, called MSU_deflicker. After dowrezzing, TMPGenc is a very good transcoder to MPEG2 for DVD production. Deinterlacing as soon as possible in the process avoids a plethora of field order errors.
Even tho’ the workflow is somewhat choppy, the overall render time is a lot faster than Vegas.
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I’ve explored this issue with my Varizoom Rock controller which uses an 8-pin connector to my HD110.Even if I could get an adapter cable to mate this controller to my EX1, the performance wouldn’t be very acceptable..sluggish and slow. Bite the bullet and gat a lens controller designed for the EX1. My choice is the Lexar controller.
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Shooting progressive is the same as shooting interlaced, as shutter speed is regarded. When the shutter is turned off, the effective shutter speed is the same as the frame rate, ie, 24 fps is 1/24, 30 fps is 1/30, etc.
When the shutter is turned on, the slowest you can go in 24 fps is 1/32 sec.
As for exposure with interlaced vs progressive, interlaced appears to be more light sensitive because your essentially exposing two fields per frame ( 180 deg shutter) for twice the exposure. In progressive mode, you expose one full field per frame, so for the same exposure you need to reduce the shutter speed by 1/2.
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Try this…
Matrix———————on
Select———————hisat
Level………………………….0
Phase…………………………+6
R-G…………………………..+75
R-B…………………………..0
G-R…………………………..-18
G-B…………………………..-23
B-R…………………………..-33
B-G…………………………..+11 -
The answer to your question lies in the difference between shutter speed and frame rate. Shutter speed is as you are used to, slow speeds allow more light but are subject to blurring any moving objects. High shutter speed stops motion, but, there is less light to expose with.
Now, frame rate is how many images you capture per second. If you capture images at, say, 24 fps and play them back at a different rate, you’ll either speed up or slow down the apparent motion in the film. For example, if you play it back at 30 fps, it will appear to be 1.25 x faster. This is overcrank. If you play it back at 12 fps it will appear to move half as fast, aka slow-motion. This is undercrank.
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Cineform will capture from Aja or BMD, I beleive. Vegas is shaky with BMD, at least. Even if you could capture with Vegas, why would you want to? It’s only 8 bit, HD-SDI is 10 bit.
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you might be better off using Cineform NEO to capture from a BMD or Aja card, than trying to get Vegas to work at capturing.