David Battistella
Forum Replies Created
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Piere,
The camera shoots 4 to 60 frames. This then gets decoded by the frame rate converter in FCP based on what frame rate you shot. If you soot at sixty then you can not tell it to be 24. It does not work that way.
What camera are you using?
When you record in this mode certain fields are marked on the media Or tape. This flagged frames are the ones that are removed by the software. It is a very specific and highly specialized process. I suggest you order teh Goodman’s guide to varicam. It is a good resource for eaplaining how this process works.
It is designed to be like film, ina video environment. FCP speed controls have nothing to do with this process at all. If you do change the speed then you are bound to introduce problems in teh footage.
David
Peace and Love 🙂
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Pierre,
Do you have an understanding of film slo motion.
Film runs at 24fps.
To shoot film slo motion you can have the camera record at 48, 60, 150Fps etc. IN this case the film camera actually captures this many frames in one second. The camera is clocked to capture these frame rates in one second. This makes for amazing slom motion because UNLIKE video, which is always captured at 24 or 2.97 frames per second, it is not an interpolation of speed but actual speed.Recently, video camera’s have been able to capture a true “film style” slo motion. The camera is capturing 60 progressive frames persecond and with the frame rate converter this is played back at 24 frames persecond. You are not slowing down time in this case but rather recording two and a half time more information to be played back at a slower frame rate.
How this differs from speed control in FCP. A video source recorded at 60FPS plays back 1 second over the course of 2.5 seconds, you are seeing every frame recorded.
With video you could say play back these 24 frames but spread it over sixty frames. They both take 2.5 seconds but one is interpreting frames and the other is actually playing back each and every frame.
That is why film style slo motion is so much nicer. It actually records enough frames in one second to show a hummingbirds wings. You could vnever do this in video at 24 or 30 fps.
You get it?
David
Peace and Love 🙂
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Arnie,
I am not getting baited into any more of this crap.
david
Peace and Love 🙂
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Good for you.
But don’t confuse shooting 35mm with what you are shooting. There is a reason most major features are still shot and distributed in 35mm.David
Peace and Love 🙂
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I find the best way to avoid this is to leave the camera powered up.
This happens more in 24PA mode than it does in 24P mode because of specific cadence issues with cadence in 24P advanced.
Also, make sure the camera is in REC RUN TC rather than FREE RUN TC.
David
Peace and Love 🙂
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Stuart,
If you contact me off list I might be able to hook you up with someone who has just done a series on this camera and may be able to help you with the in’s and outs.
David
Peace and Love 🙂
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Stuart,
You are so right about HDV. I sort of call it “pretend HD” is really is prosumer and was not designed for a pro workflow. There is an enormous amount of time added in Long GOP streams. It is a fantastic playback medium, but the 4:2:0 color space and the long GOP means the best thing to do it get the media into a “friendlier format/codec” (like DVCPRO HD) and let your post workflow happen from there.
The JVC camera does not even shoot 1080 and the Chroma abberations on the stock lense is awful. Not to mention it has taken forever for anyone to want to deal with JVC’s propritary version of HDV (from now on I think the “H” in HDV should stand for Hoax).
That all said, I know that budgets and other factors mean we will have to deal with this codec in post. I wish someone would invent the happy medium between the convienience of HDV and the quality of DVCPRO HD (minus the impractical, over priced P2 media)
David
Peace and Love 🙂
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Gary,
Is there no way to get the 23.98 footage from this camera, without going 59.94? What is the point of shooting 23.98 then? Isn’t it best in a “filmout” workflow to stay in 23.98.
As an example, if I shot a film in SD 23.98 (24P advanced) with either an SDX series or HVX or DVX series camera, would it not be wiser to stay in these progressiev frame rates when editing and ouputting a TGA sequence to a lab for the filmout?
Is it this particular camera (HDV based) that requires the move to 59.94? They JVC shoots at 24P, can this not be translated by FCP, lumierre?
Next month at the TORFCPUG we will be having a presentation on this camera and workflow and this is why I am so interested.
I like the idea of coming in via SDI and the DVCPRO HD codec but at what poiint does it become 23.98 again for the filmout?
David
Peace and Love 🙂
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Why would you ever go into the 59.94 woorkspace at all?
My suggestion.
Capture the JVC via Firewire.
Transcode the footage to DVCpro HD 23.98P
Transcode the footage to 10 bit uncompressed HD 1920×1080 23.98P (store this for later use)Edit in the DVCPRO HD codec with the KONA 2 or 3.
When you have finished, media manage the project and reconnect the cut to the 10 bit UC media.
Export a Targa sequence to a hard drive for the film out.
Stay away from transcoding anything between 59.94 and 23.98.
These HDV camera’s are creating awful workflows and they have serious compression issues.
David
Peace and Love 🙂