Brian Berneker
Forum Replies Created
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I’m not sure about your particular camera, but you can use component out or HDMI to DVI conversion to get the full image on most cameras.
Brian
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FCP loves my HV30 which is why I got TWO of them!
I had to do my setup for 1080i60 HDV and the rest is automatic… Log and Capture or Command-8. The rest is all right there.
After that you simply edit in 1080 HDV and save your files back out in the same format. You can output to your TV either by sending it back to tape or with a DVI to HDMI cable (I use a 46″ TV as a monitor) or with the included cables on the camera.
If you want to burn the footage onto a standard DVD then use DVD Studio pro or some such application, but of course you will be downsampling the crap out of your beautiful HD. Use compressor or a nice little tool I like called MPEG Streamclip to convert it. Episode Pro is also a very nice re-compression app.
Hope this helps!
Brian
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One is the HF100 and the other is the HF10. They are identical except that one has built in memory and the other only uses external cards.
They both use AVCHD which in my opinion you should stay away from. 17MB/s with limited editing options and a “moving too fast” warning when you pan, versus a nice 25MB/s HDV stream on the HV30 with a larger chip.
The only sacrifice is that the HV30 is tape instead of flash. If they came out with an HDV flash camcorder then I would mess my pants and buy one right away, but for now my two HV30s are well cared for and well appreciated…
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I don’t know what version of FCP you are using but you should be able to just use log and ingest. I’m not a huge fan of the HG10 just because it’s AVCHD – low bitrate high compression.
Lots of editing issues too because you need massive hardware to edit AVCHD and lots of apps don’t even support it. Final Cut Pro makes you convert to 4:2:2 prores which is another compression cycle…
If I were you, I’d bite the bullet, take it back and get an HV30. Yeah, it’s tape, but it’s HDV at 25MB/s instead of AVCHD at 17MB/s and it captures and scrubs on the timeline like a charm. Plus it has a slightly larger chip for better images and a 30PF mode for nice progressive frame video.
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The 1440×1080 was a disappointment for me as well, but it is something native to the HDV standard. The camera does indeed capture at 1080 but you can only get that full res (and without any pulldown – 4:4:4: as well) by using a card that captures from the HDMI directly. Otherwise you’re stuck with what HDV gives you at 25MB/s bitrate. I’d say over all you’re still doing ok, especially compared to the other AVCHD cameras that compress the crap out of it at only 17MB/s and leave you no viable way to edit without first recompressing.
As for the image quality on your sample, it’s just motion blur… try running it in sports mode to get a faster frame rate, or shutter priority mode and tighten the shutter speed.
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Or… just a thought… you might want to try pointing a camera out your window and hitting record!
There are lots of free capture utilities that let you adjust the frame capture rate to anything, say 1 frame every 30 seconds…
You get beautiful stop motion clouds and no copyright issues or royalties to pay. You can even do this with a digital still camera and get awesome HD resolution footage… and after that, you might even feel a bit CREATIVE!!!! 🙂
Brian
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You can keyframe the opacity, or use an expression to tie it to your Z-axis. Pre-compose… Alternately, you might find some inspiration in this tutorial by Kramer…
https://library.creativecow.net/articles/kramer_andrew/reflections.php
Brian
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Without Particular, you might be able to apply some ripple effects and keyframe it as a distortion mask.
Eran Stern does some interesting things with his “invisible cape” tutorial, some of the elements of which you could use towards getting your desired effect…
With a bit of imagination, I’m sure you will dream up something very effective…
https://library.creativecow.net/articles/stern_eran/Invisible_Cape.php
Brian
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You have to realize that “a bit of color grading” isn’t diminishing the task whatsoever. It’s probably the most accurate and robust technique to get the results you want. You already have the reference shots, so you should know what you’re looking for. Time spent learning or working on color grading is never time wasted.
AE’s tools with a bit of patience and a mindful eye can get you far closer to a perfect match than any canned software off the shelf ever will. Even if it mathematically calculated a perfect conversion, a preset or plugin would probably start from the assumption that your footage is properly color corrected to begin with… so you’re back to grading again.
AE is a hands-on tool. Don’t be shy to use it as one. Why not be the first one to make a preset to match this particular polaroid and post it here on the Cow for everyone to appreciate?
Honestly, I think the only way anyone will find a preset for that particular grade of film on the internet is if someone (such as yourself, with a passion for the integrity of said preset) were to post it.
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You might get some value out of Kramer’s Riot Gear as well…
https://www.videocopilot.net/riotgear.html
Oh yeah, and his new one, Twitch is pretty cool too…
https://www.videocopilot.net/twitch/
Brian