[Enrico Lappano]

Between the three options for FCP 7 for best smoothcam is it safe to say first that the FCP 7 smoothcam plug-in is not even an option (at least from my experience, but I haven’t compared it with anything) ?

But between the other two, ultimately, I’m after the “smoothest” option. Will $100 for Lock and Load X bring best results or extra time importing into Apple Motion?

I appreciate all your feedback, cause the effect can make a dramatic difference.

[Enrico Lappano]

Thanks Dave. Can I use that, or is there a plug-in available that’s as effective as the “Warp Stabilizer, with a Rolling Shutter feature” available for FCP 7, which I am editing on? My footage has been transcoded to ProRes 422.

[Enrico Lappano]

Thank you all very much for your feedback, returning to the 29.97/23.98 question. It was illuminating and not what I expected.

I guess what you’re saying comes back to the analog/digital issue and trying to recreate the 24p film ideal digitally. It’s amazing that digital media can in some way approximate analog origins.

I’m not a colorist yet, but would love to learn more about how to, “place a control point somewhere in the middle of the luminance 0-100 transfer curve, put a concave-up curve on the lower part and a concave-down shape on the upper part of the graph — the ubiquitous “S-curve”. This simulates a kind of “log” behavior that starts travelling toward a “filmic” rendition, mimicing a graceful fall-off of exposure performance, instead of the over-the-cliff crush-and-clip of solid-state imaging.”

[Enrico Lappano]

I think I am referring to contrast ratio. Not really concerned with smoothness of motion. When you say “almost”, 29.97/23.98 seem to present a certain look. I’m looking for something in between, that still maintains the depth and beauty of film, but will work in with the live music element.
Not sure if that makes sense.

[Enrico Lappano]

I appreciate your feedback.

My main goal was to create a live feel to the image that would compliment the music, concerned now whether 29.97 fps will look a little too flat. Since I’m working kind of in the dark at this stage, are there effective options during or after post that’ll work within a very independent budget?

[Enrico Lappano]

I was looking at the Sigma 20mm f1.8 for 7d video. Do you think this is the right choice between my other lenses, also considering the comparative quality with those other lenses?

[Enrico Lappano]

I just did a test of the HDV Proxy to 422 upres through Media Manager and because the XHA1s is 1440×1080, when it scaled up to 1920×1080 it didn’t do it proportionally so I’m not sure of the go around for that in Media Manager, why it didn’t adjust for the size configuration as say Mpeg Streamclip or Compressor?

[Enrico Lappano]

Thanks again Michael. I’ll use Media manager.

I’m wondering whether the Device Control Preset can affect potential quality.

I have been reading different responses whether to go with HDV Firewire, HDV Firewire Basic, or Sony HDV Firewire. There seem to be inconsistencies re a sure fire consistent response to this question. If there is one answer using the Canon XH A1s with FCP 7, 29.97 fps I’d really appreciate that.

I’ve included an image of FCP Audio/Video Settings with HDV Firewire Basic for now. Does it look right?

[Enrico Lappano]

Thanks Michael.

I am using the HDV primarilly for audio and as a B camera with the 7D. It seems from your response that in regards to memory space, I should capture in native HDV and then consider recapturing HDV in ProRes later (with handles). I appreciate the detail of your response.

One last thing. When I capture the HDV, I was told to use Sony HDV Firewire as Device Control Preset. I’m using a Canon HXA1s at 29.97 capturing w firewire. Not sure why the Sony preset was suggested over the Basic HDV Firewire setting in FCP 7. What do you think? Does it make a difference?

[Enrico Lappano]

Thanks Michael.

Since I have 7D and HDV footage, for earlier 422 projects I was capturing HDV in FCP that converted it to ProRes 422. Now, editing in a Proxy timeline, what is the best format to capture HDV footage to give it similar flexibility since HDV in FCP capture doesn’t have a Proxy option?