[Julie Steele]

How do you do a 1 frame dissolve?

[Julie Steele]

I have no idea if I am doing that in FCP or not. When I say converting I am simply re-stating what the manual says about the different recording modes.

I am using the new AG-HMR10 portable AVCHD (AVCCam) recorder by panasonic which records on SD memory card.

You said you are seeing ghosting. Are you referring to the superimposed clip I put at 50% opacity to show you the discrepancy between takes? Or something that is way above my head in understanding?

I was thinking of having the final version in 24P, but since this is the first shot that I am shooting can still change it to something else. But, I thought 24P is for theatre and 30p is for NTSC TV.

[Julie Steele]

I have no idea if I am doing that in FCP or not. When I say converting I am simply re-stating what the manual says about the different recording modes.

I am using the new AG-HMR10 portable AVCHD (AVCCam) recorder by panasonic which records on SD memory card.

You said you are seeing ghosting. Are you referring to the superimposed clip I put at 50% opacity to show you the discrepancy between takes? Or something that is way above my head in understanding?

I was thinking of having the final version in 24P, but since this is the first shot that I am shooting can still change it to something else. But, I thought 24P is for theatre and 30p is for NTSC TV.

[Julie Steele]

Fields, eh?

I am shooting in 24p Progressive mode.

The video signal is recorded natively. However, the external output signal is converted to a 2:3 format, 60fps interlaced signal.

Am I better off shooting at 30P which is converted to a 60-field-per-second interlace or in 25P which is converted to a 50-field-per-second interlace?

For the 2 examples you want me to send. Which mode should I shoot them in?

This is for a theatrical full length documentary.

[Julie Steele]

Fields, eh?

I am shooting in 24p Progressive mode.

The video signal is recorded natively. However, the external output signal is converted to a 2:3 format, 60fps interlaced signal.

Am I better off shooting at 30P which is converted to a 60-field-per-second interlace or in 25P which is converted to a 50-field-per-second interlace?

For the 2 examples you want me to send. Which mode should I shoot them in?

This is for a theatrical full length documentary.

[Julie Steele]

This is for a short moment in a full length documentary. What I am trying to do is make it look real, and perhaps instead of “magical” it’s more demonstrating someone having to do “little to no effort” to achieve results that normally take a ton of dedication and time for everyone else.

The weight loss is only about 25lbs. From 140-115lbs. Going from flab to firm. So, it isn’t biggest loser style weight loss. But, it needs to be noticeable.

[Julie Steele]

This is for a short moment in a full length documentary. What I am trying to do is make it look real, and perhaps instead of “magical” it’s more demonstrating someone having to do “little to no effort” to achieve results that normally take a ton of dedication and time for everyone else.

The weight loss is only about 25lbs. From 140-115lbs. Going from flab to firm. So, it isn’t biggest loser style weight loss. But, it needs to be noticeable.

[Julie Steele]

Hi David,

Thank you for taking so much time in thinking this through. And you are right in the reason I am here, for professional like you who have been down this road before give advice.

Perhaps, I should explain the shot a little better. This is for a short moment in a documentary. What I am trying to do is make it look real, and perhaps instead of “magical” it’s more demonstrating someone having to do “little to no effort” to achieve results that normally take a ton of dedication and time for everyone else.

The weight loss is only about 25lbs. From 140-115lbs. The outfit is small sports bra and very short tight shorts. Going from flab to firm. So, it isn’t biggest loser style weight loss. But, it needs to be noticeable.

Do you really think this should be shot on a blue screen or green screen for to work?

Thank you again. – Julie

[Julie Steele]

Thanks Pierre for responding!

Camera is locked off. Same outfit. Same exact hair-do. Running to a metronome. Looking at the same spot. Everything is as perfect as I can get it. But, there is small changes that the human eye seems to be able to detect.

While I might be able to get away with one or two edits like this with a 4 frame dissolve. Having 90 different takes edited every 4 frames or so is going to be very noticeable. I’m not sure how to pull this shot off, but it has to be possible.

I’m uploading a tiny example from a test shot to show the type of discrepancies I’m wanting to avoid. You’ll see clip 1 followed by clip 2 in an overlay where the edit point would have been.

The final shot should just show a smooth physical transformation, while everything else remains the same.

Please ignore the background, lighting, and color. This was just a test to look at matching running from clip 1 to clip 2

[Julie Steele]

Thanks Pierre for responding!

Camera is locked off. Same outfit. Same exact hair-do. Running to a metronome. Looking at the same spot. Everything is as perfect as I can get it. But, there is small changes that the human eye seems to be able to detect.

While I might be able to get away with one or two edits like this with a 4 frame dissolve. Having 90 different takes edited every 4 frames or so is going to be very noticeable. I’m not sure how to pull this shot off, but it has to be possible.

I’m uploading a tiny example from a test shot to show the type of discrepancies I’m wanting to avoid. You’ll see clip 1 followed by clip 2 in an overlay where the edit point would have been.

The final shot should just show a smooth physical transformation, while everything else remains the same.

Please ignore the background, lighting, and color. This was just a test to look at matching running from clip 1 to clip 2