Guy Mcloughlin
Forum Replies Created
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Each network will have their own specifications on format. Here are links to the PBS Guidelines and the submission form for the PBS “Independent Lens” series:
PBS Independent Lens Submissions
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[clyde villegas] “How does the broadcaster know that your submitted material (finished and edited) is either 4:2:0 or 4:2:2? Do they just rely on your word when you submit the material? Or is there some type of test done on it?”
If the footage you are submitting is the raw AVCHD files from the camera, then it’s obvious to anyone who knows the format that it uses a 4:2:0 color-space.
If you are submitting finished edited footage in a 10-bit 4:2:2 format, then I don’t think there is any easy way to determine what the color space of the original footage was, especially if the original footage has been manipulated ( i.e. color-graded, etc… ) in post.
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FYI: I own a HMC-150 camera which I am extremely happy with…
I looked in to this before and decided the simplest route was to find a laptop/desktop PC that has firewire ports, and then buy a used firewire capable video camera, like:
Low-budget: Canon HV20 / HV30 / HV40 camera
Higher-budget: Panasonic DVX-100 / DVX-100A / DVX-100B camera
A used DVX-100 can be found for as little as $1,000, while a used HV20 might go for as little as $300. The DVX-100 is pretty much a tape-based SD clone of your HMC-150, so it would not be a big deal to switch to it for video-streaming work.
Streaming HD ( 720 or 1080 ) video requires a very good broadband connection for users to watch your content, which is why I think SD ( 720×480 ) or lower resolution video makes a lot more sense.
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Correction: The AF-100 internally records AVCHD with a 4:2:0 color-space.
I think the AVCHD 4:2:0 format is only an issue if you plan on delivering footage straight out of the camera for the broadcaster to edit.
Many people have been delivering finished footage in high bit-rate 4:2:2 format even though the original footage might have been shot as lower bit-rate 4:2:0. The broadcaster doesn`t care as long as the final footage looks great.
As has been shown many times now, Panasonic AVCHD 4:2:0 can be almost impossible to separate from 4:2:2 higher bit-rate footage if it was properly shot.
4:2:2 color starts to make a noticeable difference with blue/green screen or SFX compositing work. For general purpose video it makes virtually no difference.
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If DVD is your target platform, then HD has no advantage. ( DVDs are NOT high definition )
I would go with the DVX-100, as it has more control, a much better lens, and can shoot in very low light. Just keep in mind that you will have to manually focus your shots, which is not that big a deal. ( HandyCam autofocus is very convenient, but manual focus with the HandyCam is awkward )
I would also recommend spending a few hours practicing with the DVX-100 and then try editing your DVX-100 footage, just so you are comfortable with the whole production process.
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What is your experience with video production?
How will your finished video be used?
What is the delivery platform for the finished video? DVD? Blu-Ray? High-speed Internet Connections?
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The video that the Canon DSLR cameras produce have minor issues that need to be corrected. ( I can’t remember the details offhand, but I know that color-space conformity is one of them )
The Cineform NEO SCENE software ( $100 from VideoGuys.com ) automatically recognizes the Canon DSLR footage and will correct the problems when you import the footage. Check the Cineform website for details on what corrections it makes. You can also download a trial version of NEO SCENE from their site too.
The biggest issue I would anticipate trying to edit video from multiple cameras in to one timeline, is trying to make the footage look the same. ( unless you want it to look very different depending on the camera used ) Video resolution, gamma, dynamic range, color balance, are all going to be different, which will mean a fair bit of work trying to massage these different videos down to a similar look, if that is what you are after.
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The Kipon EF Lens adapter is considered to be the best Micro 4/3 EF adapter right now:
Kipon EF Lens Adapter : $130 on EBay
None of the adapters work with Canon AF or IS, but the Kipon will allow you to adjust exposure via it’s own iris.
Later this Spring the Birger EF Lens adapter should be out. The Birger adapter enables both AF and IS if the Canon lens has it, along with remote wireless focus-pulling. It’s a big adapter and is expected to be priced starting around $700 US.
As to which PL lens to rent, I would bring your camera to the rental place and try them out on the spot. This will give you immediate feedback on what the lens can do, and what kind of shape it’s in.
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Thanks for the link. I expect Canon will fix all of it’s video problems with the next generation. 5D MK3 looks like it will be the first with new Canon tech, I just don’t understand why Canon is taking so long to fix this. ( I recently sold all my Canon gear and switched to the GH-2 )
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[Rafael Amador] “This is what some times makes horrible thing when shooting geometric patterns (roofs, tiles, etc).
…Just to clarify things, it’s the imaging sensor and how it’s data is processed that has to be optimized for video in order to eliminate aliasing and moire problems in the final HD image.
Canon DSLRs have problems because of how Canon chose to reduce the sensor resolution from 18 Mpixel ( Canon 7D / 60D / T2i ) or from 21 Mpixel ( Canon 5D MK2 ) down to 1080 HD resolution which is only 2 Mpixel.
The Panasonic AF-100 and Panasonic GH-2 both use optimized solutions to properly down rez the image to 1080 HD, so they effectively have little or no aliasing and moire problems.
…My guess is that the Canon 5D MK3 will also have a proper 1080 HD solution to get rid of aliasing and moire.