Marco Solorio
Forum Replies Created
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Ryan, I think I stand corrected. It does look like in fact the XL2 uses true progressive CCDs. I have heard it looks soft in 24p mode so I’m not sure whay that would be.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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This is correct. Canon’s CCDs are interlaced, so it performs interpolated deinterlacing on-the-fly. It gives you a 24p “look” but it’s not native 24p like a progressive CCD camera will give you.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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If you want to go in the film direction, you might want to start with getting a copy of the ACM… American Cinematographer’s Manual. Some of what’s contained in there are specifics on shooting film, a’la 24p. Shooting 24p is different than shooting the 60i you’re used to with your Canon.
You should get your hands on a native 24p camera and start getting used to it. Then it’s a matter of shooting SD or HD. The closer you want to get to film (i.e., the higher the latitude, DOF, etc.) the more costly the camera gear is going to be!
But I would absolutely learn on a 24p video camera first and not even touch a film camera. Once you become very comfortable with 24p, even then you may not want to plunge into the cost of shooting film with high-end HD and 2K looking so good!
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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Hi,
First, what codec is used for the source footage? How was it captured? If it’s uncompressed HD then a firewire RAID wont cut it for real-time playback.
DVCPRO HD codecs should be able to play back on your RAID so I’m not sure what the issue there is. Are you able to play back your edit in real time at all? How are you editing the video?
Next, if you want to perform a standards conversion from PAL to NTSC, then use the Nattress Standards Converter plugin. It’s the best out there for the job. I also have an article on it here at the Cow…
https://library.creativecow.net/articles/solorio_marco/std_converter_rev.php
If you have PAL footage that you want to author a DVD into, you must either author a PAL DVD or convert the final video to NTSC to author as an NTSC DVD.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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You’d probably fair well using QuickTime H.264. Definitely one of my favorable codecs to use both online and localized presentation/kiosk type use.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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I completely missed the NTSC part! I was only thinking the question was just for HD. It never even crossed my mind the question was for SD. Doh!
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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If your video truly does have letterbox bars on it, then you’ll need to crop the video on export so that it cuts out letterbox bars. You have a couple of ways to perform this.
1. Send the video to Compressor. From there, you have crop controls to take out the letterbox. Or…
2. Place the sequence you have in FCP into a new sequence (thus creating a nested sequence) and change the vertical dimensions of the sequence so that it crops out the letterbox. Export from there.
Unfortunately the standard QuickTime Export function doesn’t have a built-it crop feature which would be the easiest way to do this. Been a request of mine for quite some time!
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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This is correct. The cannon (nor any Canon video camera) shoots in true 24p (it’s interpolated). They’ll be the last company to jump on the band wagon if they ever do. Phorland, if you were going this route (60i) I’d definitely stick with the Sony you already have. Those larger CCDs can make a nice difference. But if you want true 24p, I’d probably go the DVX100 route.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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^ What Chris said.
And to add… are they going to pay you for all this extra transcoding and storage time??? Not to mention the work you’ve already done? I’d be sure that you do a little swap… get the CHECK in exchange for their media. There’s always the chance you’ll never hear from them again.
Sorry to hear what sounds like a crappy client. =(
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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I’m with Rick. In most cases, you’ll lose half the vertical resolution by deinterlacing interlaced footage. To deinterlace correctly and save as much vertical resolution as possible, you’ll be adding a ton of setup time and rendering time. We haven’t even talked about interpolating from 30 FPS to 24. For a feature this could all amount to loads of added post-production time. By the time your feature is done, you’ll be so sick of deinterlacing you’ll have wished you would have shot on the smaller CCD size of the DVX100!
In cases of fast motion, the progressive frame can sometimes encode a better looking image in progressive than interlaced, so you’d have that going for you too.
And if you do shoot on the DVX100 and you want lossless media transfer to stay in 24p, make sure to shoot in 24pA (Advanced) mode versus 24pS (Standard).
And if you’re really lucky and have extra budget, rent a lens adapter (like the RedRock Micro unit or P+S Technik) to mount fast F-stop lenses for some serious narrow depth of field. Shot correctly, it can deliver some of the most incredible stuff you can lay your eyeballs on! You’ll swear it’s 35mm!!!
Good luck!
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch