Graeme Nattress
Forum Replies Created
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Zero quality difference.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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This is not the case for the HDV deck though – it’s a camera without a lens, that’s more expensive than the camera, and just as slow a transport.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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If DVMATTE is not working, the problem is with your footage/lighting, not DV’s 4:1:1. The key to getting a greenscreen to work is not the tape format, but the lighting.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Yes, but consumer confidence doesn’t always follow any rule of logic. I had 15 zip drives die in one day. Yes, I know Iomega have better, more reliable products now, but I’m loathe that I give any more of my money to a company that let me down so much all those years ago. This might not make logical sense, but it makes emotional sense.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I’m just saying what Panasonic told me. Beyond that, I don’t know.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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[john sharaf] “Panasonic knows that the capacity and price of the P2 cards is not appropriate yet for the high datarate of HD production”
So that’s why they made the HVX200, right?
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Not if it’s a really good de-interlacer. Here’s some grabs of my 24p simulation from 60i.
https://www.nattress.com/BirdBrains/birdBrainsPictures.htm
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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It’s probably throwing fields away. If you want progressive, do it in post by shooting normal 1/60th in camera and de-interlacing afterwards in FCP.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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It’s an anlaogue signal from a discrete sampling system. I mean, you can pull a 24bit 192khz sample from vinyl, or analogue cassette tape, but that doesn’t mean that the underlying signal justifies such a sampling rate by virtue of it’s noise floor or frequency response. You could use a 16bit AtoD and sample at 2540p, but that doesn’t mean it’s a chip that warrants such treatment. Or think of sampling the analogue output of a CD player at 24bit 192khz. Does that sample sound any better than the original 441.khz 16bit recording?
Jan, we fully appreciate that the specs of the HVX200 CCD are a trade secret. No doubt some internet magician will do some enlightening experiments and reverse engineer and figure out what’s going on, but until then all we can do is look at the pictures the camera makes, and from all reports I’ve read, it does a great job. It’s obvious there’s some Panasonic magic going on with the CCDs. Can you not just say, “it’s Magic”, it’s “a trade secret”?
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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For PAL 50i to 24p in FCP, it’s quite easy. Bring in your PAL footage as normal. Apply a de-interlace filter render, change seq dimensions to NTSC, use motion tab to scale video to fit, output to a file. Take that file to Cinema Tools, ask it nicely to “conform” to 24p and you’re done.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP