Gary Adcock
Forum Replies Created
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[Sean ONeil] ” It is set to “automatic” so it will encode it at whatever framerate and field dominance the source is. Even though it says 1080i, there’s no such thing as 23.98 interlaced. Trust me, it will encode as 1080 @ 23.98 “
Sean is correct about it being automatic, that’s because HDCam uses a “segmented frame” for all 1080 content that is recorded as regular HDCAM. The format is called “PSF”. It is captured as 24 frame progressive but played back on all but the highest end displays as 48i.
It was explained to me as a limitation of the display technologies in combination with Sony’s need to not obsolesce the interlaced format –while still embracing the progressive standard demanded by Hollywood — all in one camera.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
Thanks everyone, glad to be here.
I am one of the lucky people that has been playing with the camera prior to it’s release.
I hope to add some insight from the post side of HD with this camera.gary
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[leaknoil] “A fee for a camera demo ?”
yes, and more common than you might think.
Fletcher charges for these type of end depth sessions, and they offer attendees 2X the cost of admission as a future discount for rental or purchase. I have now done a couple of sessions in association with them and I believe that charging brings out the most professional, qualified and determined persons to the audience.
I have never once gotten a “what is this HD stuff you’re talking about” question, (like I did at DV expo)Fletcher is one of the largest HD equipment rental houses in the world, and the largest for rental of HD gear for live sports. They work with the highest level of pro’s I know of all over North America, and how many dealers are able to show a working HVX200 camera before they ship?
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[CapturedLive] “I assume it’s in the media. So I could take a 29.97 CMX EDL, relink it to media loaded in 24P Advanced mode, turn on the remove advanced pulldown option, and it will play properly, removing the correct 5th frame? “
UH you’re not saying why your using a CMX edl — but I do not know of any linear editor that can see the 24pA cadence, not even all of the avid’s can see 24pA.
if your talking about editing in FCP — you will need to go thru a conversion of the 29.97 edl to a 23.98 edl and import that footage during captured into your new 23.98 timeline-
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[CapturedLive] “IN A 24P ADVANCED SEQUENCE, how does the sequence know what frames to drop?”
At the seq level it does not. 24pA is the cadence of the added frames that allow the content to play as NTSC and then be removed to allow for 24 clean frames. This cadence is 2:3:3:2 – which is why you see a “duplicate 5th frame”
To work at 24fps, you will need to remove the duplicate frames on capture, by using “remove advanced pulldown” from the tools menu or using Cinema Tools to remove the frames.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Matthew Romanis] “Is anyone using either the Miranda MDC 902/922 or the DVC 802/822?
What was the cost? “I use AJA converters as do most of the pro’s I know, the AJA box also passed the flagged frame TC over SDI and do not have any issues with PAL or NTSC.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[David Battistella] “You might want to have allof the footage run through a box>>> here is even better news. <<< You can not dub from Sony 59.94 to Sony 23.98 without a major conversion taking place. "
This really needs to be done in hardware I have not seen acceptable results for this in software – not in HD– there are just too many things that go wrong in the interlaced to progressive conversion that software cannot currently handle. I suggest using Terranex or Ukon/ Alchemist for this type of conversion.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Joni Church] “I was kind of hoping I was missing something and there would be a better way. I suppose the better way would be to tell our DOP not to shoot HD when we’re captioning.”
why not copy and paste the audio into the timeline – the length of the clip should remain the same– only the number of frames is different.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Steve Connor] “No RS 422 on HDV Decks!”
Sorry Steve
the HDV deck from JVC has 4:2:2, now if 24p worked in Final Cut.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Steve Connor] “No RS 422 on HDV Decks!”
Sorry Steve
the HDV deck from JVC has 4:2:2, now if 24p worked in Final Cut.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA