Graeme Nattress
Forum Replies Created
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Why? Because it’s cheaper, which means that more people can afford the camera. If I needed the macho posturing of a “real” lens, I’d buy a blinkin Varicam or whatever…..
It’s fine to rant on about needing real lenses and all that, but the practical reality is that very few people can afford them. Panasonic have the Varicam for people who “need” a real lens. For those of us who just want to shoot decent quality HD, in a decent quality codec, for a decent amount of money, we’ll just use the HVX200 instead.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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From what I can tell, the Panasonic fixed lens is in a class above Sony’s fixed lenses. The focus ring on Sony fixed lenses feels to me, like wet cabbage as you’ve got to give it a good turn to work, and then it sort of turns by the amount you want, but never quite. If you turn them slowly enough, they never seem to do anything. I’m told that Panasonic’s implementation is done so that you can turn the focus ring at whatever speed or distance and the focus will react, until you go out of range where you dial will still keep turning. That means you can put a real follow focus on a Panasonic and it will work, whereas you can’t with a Sony. I just got a nice lens on a Canon 20D, and it works similarly. You turn it, and it works just like a real manual focus until you reach the end of the lens’ movement, and then it just keeps turning, but within it’s range, it works and feels just like a manual focus. This is just one way Panasonic is keeping quality up and price down. I see little point in the JVC approach of cheap camera and expensive replacement lenses. If you’re into full HD lenses, why on earth would you put a compressed to hell HDV back on it?
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Well, best way I know with standard def video to get a super-slowmo is to shoot 60i, but edit the project at 24p, which gives a wonderful 40% slowmo by taking each field of the 60i and turning it into a frame.
For HD, the best you’ll get is taking 720p60 from the Varicam or HVX200 and editing on a 24p timeline, giving you that wonderful 40% slowmo, which should look better still than the 60i method with standard def. The other option is to shoot 60i HD, and slow it down to 24p in post via a similar method to which I describe for SD above, and that should also look good, but I’d be tempted to take the 1080i60 down to 720p24 if I was doing that as it might just stand up better.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Thanks Jan. I was just curious.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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https://www.kenstone.net/fcp_homepage/24p_in_FCP_nattress.html explains all.
NTSC DV is always 29.97fps no matter what! If you tell FCP to capture at 23.98fps, it will, but because the tape is not at that speed, it will just randomly drop frames.
If you shot in 24p Advance, capture as 29.97 with the advanced pulldown removal function, and FCP will remove the correctly falgged frames to give you true 24p.
If you shot in 24p 3:2 pulldown, then just capture as normal NTSC.
Don’t whatever you do set FCP to capture with a 24p timebase or it will mangle your footage.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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The P2 cameras that are currently on sale are very news oriented. There’s whole TV News stations going completely tapeless. P2 is perfect for them.
All I can say is that the same arguments against P2, that’s it’s too expensive, too little storage etc. were all levelled at Non Linear editing, and we all know what happened to that.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Ah, but you type to fast Gary….
DVCproHD 1080i is 1280×1080, not 1440×1080.
HDCAM is 1440×1080, as is HDV.HDCAM SR records full 1920×1080, but is very unaffordable 🙁 D5 also records full 1920×1080.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Quicktime often tells lies….
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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FCP always re-renders to produce the best quality, so no, it’s not too late. What I tend to do is just dupe the DV sequence and then change the settings on the dupe to be uncompressed etc.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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It should be out in the next day or so as part of “Standards Conversion”. It does conform and de-interlace or field split in one, so shooting 60i for a 24p timeline will give you 40% or 80% of super-slowmo! The filter is called “G Map Frames”. It shoudl produce the same result as you’re getting from AE or Shake, but I’ve included a smart de-interlace mode for even better quality.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP