James Carl
Forum Replies Created
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Are you by chance referring to long takes that the camera records as multiple files? I just noticed this behavior myself and thought something was wrong until I realized it was only happening on the long takes. And each one of the small files that comprise the full long take are linked so you can scroll from beginning to end in the media browser in each, which originally made me think they were dupes….
If you use Clipwrap it will combine the files back into one long take as it rewraps or transcodes, by the way. -
Canon is an odd company when it comes to Digital Cinema. They keep one hand tied behind their back to protect their lens sales to the other video camera companies. It would be great if they would pull off their gloves and release what they are capable of doing.
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Answer to what I mean…
If you shoot in 24f on a XH-A1, after you do a reverse pulldown (with JES Deinterlacer or other tools) you end up with 24P no joke.Which instructions are you following from on line?
I am guessing that you need to add the pulldown back in with Cinema tools to convert the 23.98 back to 60i before printing to tape. This is a good example of why Canon doesn’t say the camera records in 24P.Are you familiar with interlaced “fields” versus “frames”?
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The HV20 records 24(23.98) within 60i even though it has a progressive chip.
What are your sequence settings with the XH-A1 footage? 23.98 or 60i?If you are in 23.98 use JES Deinterlacer on the HV20 footage and you will be all set.
https://www.xs4all.nl/~jeschot/home.html#DEIIf your current sequence is HDV 60i, then you need do nothing but bring in the HV20 footage as is.
24F is Canon’s way of saying they are not using a progressive chip but still give you 24p. This has been the source of much confusion and probably a loss of a lot of sales for Canon especially considering the quality of the XH-A1 footage that IS progressive once it is brought in properly to a 23.98 project.
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I understand you don’t want to compress or re-conform, It seems a shame that the EX1 won’t record 1440X1080 anamorphic footage to match all the other Sony HD products.
I am curious if it will play it out through firewire or USB2? My Z1 has that feature for going out to SD with the choice of anamorphic or letterbox.As a side note, how does the 1920×1080 EX1 footage compare to the F355 footage? I am so bummed about possible CMOS rolling shutter issues for efx work that I have held off on the EX1. I’m being told I need a CCD camera.
If you were shopping for 2 cameras from scratch would you still buy an F355 today? Or do you find the EX1 does the trick all by it’s self? In other words, turning your question around, how do the cameras compare at their best settings?
Sorry for the thread hijack….
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>>In FCP 5 how is a 24 fps file handled in a 29.97 timeline?”
>I believe it just duplicates every fourth frame.OK that is cool, I didn’t know it did this automatically.
Is there a way to override this if you don’t want it to duplicate frames for a speeded up effect?>As far as the playback issue is concerned, they probably didn’t have their settings right. They had to render the file in the timeline.) I would have just set the sequence up to play back the AIC without having to render it.
I think they said the issue was that in order to go out through the Kona card to their D5, my files had to be convertd to there sequnce specs. Even though my files went into their timeline, it just wouldn’t play right after it rendered.
Are they correct? Or should a Kona card be able to send out HDSDI from an AIC sequence?
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>set the systems frequency to 59.94
Got it thanks.
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Thanks John!
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Did you check all your settings to make sure they match what you are capturing? Also did you try to toss the preferences?
https://www.lafcpug.org/Tutorials/basic_trash_prefs5.html