Don Greening
Forum Replies Created
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It’s there in the OTHERS menu under VIDEO FORMAT. You can’t see it because you have to use the joystick to scroll down past the other formats. See the little arrow at the bottom of the list? It keeps going. And it’s called 1280 in the menu. That’s the one you want.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
I never said 4:2:2 was the only accepted broadcast format but that it is an accepted one. Please don’t put words in my mouth. What formats local TV stations accept and what they don’t is their business. It’s the networks that don’t like 4:2:0. All you have to do is read the broadcast standards and practices pages for each of them to see it. This Is one of the reasons companies like Sony and Canon have started offering 50Mbits per sec. 4:2:2 recording on their lower priced cameras in the first place. They even state the broadcast reason in their ads.
– D
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
I just checked my own EX1R with a flashlight and noticed some dust on the card guides of both slots A and B. The connection pins inside each slot are straight and shiny and don’t seem to be contaminated with anything. The actual SxS cards connect with the slot pins using flat copper-like plates on one side of the interface and should not be tarnished or dusty.
I’m going out on a limb here and will suggest that your card is probably okay but that the connection(s) was dirty. Interesting that the connection between card and your Macbook Pro’s Express 34 slot was fine though.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
[Richard Rollins] “What is the benefit of UDF over FAT?”
UDF and FAT are different formatting structures for the memory cards and are not the camera’s recording formats. The recording format for both structures is still MPEG2 with the following differences:
- 1. MPEG2 for FAT (at the highest setting) is recorded at 35Mbits per sec. in the 4:2:0 colour space.
- 2. MPEG2 for UDF is recorded at 50Mbits per sec. in the 4:2:2 colour space.
There are advantages of 50Mbits@4:2:2 over 35Mbits@4:2:0
- 1. fewer visible compression and motion artifacts in the picture because of the increased bit rate.
- 2. the increased colour space is better able to withstand generational losses during the editing process.
- 3. better colour correction results.
- 4. is an acceptable broadcast format whereas 35Mbits@4:2:0 is not.
Unfortunately I have no idea why your picture at 50Mbits is worse than one recorded at 35Mbits but the former is supposed to be better than the latter.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
I don’t know how many other webste-based forums Ian participates in but I’m very glad he’s on this one.
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
The only other time I’ve seen interlaced tearing like this was from an inexpensive Canon palmcorder. I never did figure out the issue and I ended up rendering it out as progressive instead of interlaced. That cleaned up about 90% of it. I don’t know if you’ve tried something similar but if not then export a small portion of your timeline and get Compressor to convert it from interlaced to progressive. See if that result is acceptable.
The only thing I can think of in the future is to suggest whoever owns the JVC camera to record with a higher shutter speed. Your provided stills suggest that the interlaced combing happens with moderate to fast motion. I suspect that the footage with no motion is fine. If the camera is able to record progressive then try that instead of interlaced if the subject matter allows (interviews etc).
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
Have you tried reversing the field order of the clips in FCP? For HD video the field order should be upper field first. Also make sure your sequence settings match your footage settings, including field order.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
[Scott Bruffey] ” I didn’t realize the sensor would play that much in the DOF”
This is why it’s relatively easy to achieve a shallow DOF with something like a Canon 5D Mk 3 because the sensor is so big.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
Using a different lens won’t make much difference to the DOF on an EX3 because it’s the camera and not the lens that’s the limiting factor. Image sensor size plays a huge part in narrowing the DOF along with iris position and the amount of zoom used. The larger the imager the more narrow the depth of field can be dialled in. Also, the wider the iris opening the better (lower F stop number). And as you’ve pointed out the farther away from the background the talent is the better.
The EX3’s 1/2″ sensors are going to need some help from you setting up the camera to get the most out of the desired shallow DOF.
- Open the iris to F1.8 and then adjust the lighting to get proper exposure i.e. using less light.
- If shooting in daylight then use the camera’s ND filters to cut down the amount of light entering the lens.
- Increasing shutter speed also cuts the light amount because there’s less time for the it to hit the sensors.
Move back as far as you can from the talent and then zoom in to frame the head/shoulders shot. Iris as wide as possible then do a manual focus. See how that works. It’s tough getting a shallow DOF with 1/2″ imagers, especially when space between talent and camera is limited.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
Near as I can tell (the manual is very confusing) when the switch is set to OFF the shutter goes to full auto mode and is affected by shooting format (FPS) and available light. With the switch set to ON then all the shutter adjustment settings become available to the user, including setting the shutter to OFF if that’s what you want. With the shutter switch ON you can now choose between the four settings:
– shutter speed
– shutter angle
– extended clear scan (ECS) for shooting TV and computer monitors to stop the rolling of the picture.
– slow shutter (SLS) mode for shooting in low light.Of course, all four shutter choices have their own individual adjustment settings. Hope this helps.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com