[Craig Seeman]

If you save your custom settings in the camera it’ll create a folder on the SxS card called “Sony.” You can copy that to your hard drive to back up your camera settings.

[Craig Seeman]

Those are timeline playback settings too. One can always set up custom timeline settings and one can always render but timelines are generally 23.98 (or 24), 25, 30, 60 in the world as I know it.

[Craig Seeman]

You must shoot in a time base of either 720p24, p30. p25. What you actually do with the video after that is up to you but “slow” is relative to “something” and the somethings are the above timebase choices.

[Craig Seeman]

Have you tried going into the menu and using the reset button returning the camera to factory defaults?

This camera (and many others) are really specialized computers and I suspect sometimes they can develop software issues.

I’m bumping into a possible software issue of my own but I’ll save that for another post.

[Craig Seeman]

Drop an overcrank p60 clip in p30 timeline and it plays at half speed.
Drop an overcrank p60 in a p24 timeline and it plays at 40% speed.

Timeline should match the BASE speed p24 or p30.
You shoot EITHER p24 Overcrank 60
or
p30 Overcrank 60
or
p25 Overcrank 60 (for PAL area folks)
You set your base at the beginning of the shoot/project. You use the Slow/Quick motion to set Overcrank when you use it. It’s always in the Time Base you previously set up.

I don’t get what you’re missing. It’s really SIMPLE.
Your time base (you choose when you set up to shoot). Then you set up overcrank record when you want to.

Your Project/timeline in your NLE must MATCH your timebase or you’ll be doing rendering.

[Craig Seeman]

You’ll get the greatest slow down in 24p but you can certainly do a 30p time base and PAL area folks are doing 60p in a 25p time base.

Actually one can do 1080p24 and do a very slight overcrank to 30p too.

[Craig Seeman]

Sure you’re not on slow shutter?

[Craig Seeman]

This is working well for me

Lowepro Rolling Compu Trekker

[Craig Seeman]

Contrarian?

[john sharaf] “Like I said, if you’re viewing on a monitor without 3:2 pulldown added, then the motion is not accurate and it might studder, jutter or whatever you describe as unpleasant.”

23.98p without pull down on a monitor that can play 23.98p . . . looks like 23.98p.

Computer monitor have no problem with 23.98p native. Many HDTVs can play 23.98p (and some really do a bad job of it).

Many editors don’t understand the concept behind the cadence (both “standard” and advanced) when pull down is added and that can certainly impact the look if one is editing 23.98 with pull down added in 29.97 time line.

It’s interesting that I’m not the only one who sees motion issues with 23.98 and video. I just viewed Doug Jensen’s EX1 training video and while he doesn’t verbalize it well, he does state clearly that he prefers 30p to 24p and shows examples of the same scene shot both ways. The scenes are displayed in standard def on a 29.97 TV set of course. I don’t recall if he mentioned the shutter angle (or speed) but nonetheless I’m sure he and many other very experienced DPs (which I don’t claim to be) see what I see.

In short, I can’t nail why but 24fps film with proper pull down played 29.97 interlace looks different that video 23.98 with pull down played on 29.97 interlace. My eyes see it and I do know I’m not the only one who does.

There are also many means to add that pull down and maybe that’s part of the difference. “Video” shot at 23.98 and played at 24fps in a movie theater is another story. MANY films are shooting with digital cameras at 23.98 and shown in theaters at 24fps and they look fine.

[Craig Seeman]

I’ve shot 720p24 overcrank to 60p. In that overcrank mode there’s no audio. Edit in your NLE in 24p time base and the p60 shots drop in the timeline already slowed down.

Theoretically the data rate is much higher during overcrank 60p record so playback at the 24p timebase is at the 35mbps VBR data rate. As an aside, this is probably one of the reasons that may differentiate SxS cards and other data file cards. In overcrank mode the record data rate may have to be sustained at around 100mbps VBR and then some headroom on top of that.

In “normal” 720p60 audio is recorded. If you drop it into a 60p timeline it plays at “normal” speed. What you get for this p60 over p24 is much greater temporal resolution. The record data rate is 35mbps VBR. So if you slow this down to 24p you’re getting less data per frame.

So your options are:
Shoot 720p24 and overcrank to 60 for slo mo shots (no audio)
Shoot 720p60 with audio and work in 720p60 timeline (no slow mo)
Shoot 720p60 “normal” with audio and drop that in 720p24 and you have slow mo with slow audio and probably lower data rate per frame.