Marcus Van bavel
Forum Replies Created
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[andre] “Thanks Markus for the interesting information. You mentioned motion detection w.r.t. crossover artifacts, but does theis mean, in relation to my earlier question, that all NLE’s (not only DV Filmmaker)have motion detection for deciding which field belongs to which frame?”
The built-in deinterlacers of Premiere, Vegas, etc. do not detect
motion and also cut down the vertical resolution to about half.DVFilm Maker and other smart deinterlacers
try to preserve full vertical resolution in areas of the screen
where there is no motion. -
[TClark] “Does this mean that anybody with a true 30p camera such as the canon xL2 should use a 60i preset when capturing 30p?”
That’s correct
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Steven tells me you are using DVFilm Maker.
If you deinterlace to 30P you can edit in a regular NTSC
(interlaced) timeline. The progressive and interlaced formats
are compatible. However any effects or transitions that you
apply will have interlacing in them, but that should not be a problem.Here are some more details which you can skip over if you don’t need them
DVFilm Maker has several options. The simple deinterlace converts 60i to 30P
or 50i to 25P. It can also convert 60i to 24p, or take 60i and convert it to
60i with 24P plus 3:2 pulldown. It can also remove pulldown. In the case of
30P, 25P or 24P the output is true progressive.By the way it is a misconception (not neccesarily yours) that a DV-NTSC
codec encodes the fields separately and is somehow hardwired for interlaced
material. Each macroblock can be encoded in either field mode or frame mode,
but it’s decided anew on each macroblock depending on the content of the
image and 30P is encoded equally well as 60i.The problem is that the NLE assumes DV-NTSC is 60i because there is no
interlaced/progressive property in an AVI or Quicktime so the NLE often
makes a guess at to which it is.You can edit 30P in a 60i timeline and there’s nothing wrong with that, it
will preserve the 30P motion. However motion effects and transitions will
have interlacing in them. That’s not a disaster as long as you’re not trying
to make a transfer to film or a 24P DVD, and in that case 30P would not be
appropriate anyway.If you edit 24P in a 60i timeline that is very bad, especially for a
transfer to film or to make a 24P DVD. The user would need to use the
DVX100A preset instead or desktop mode with custom settings, something where
the frame rate is 23.976 and field dominance set to “None” or “Progressive”
If you are editing Dv in desktop mode you have to install a VfW DV codec
like the Matrox free DV codec, which is a good one. In desktop mode there
is no firewire preview.https://www.matrox.com/video/support/ds/software/codec/home.cfm
Steven asks why not edit 60i and then deinterlace? The reason is that
the motion detector in DVFilm Maker is confused by cuts, and
the result is 2 frames before and after the cut that are 1/2 resolution.
Most people don’t notice it however. Also if you edit 60i and convert
to 24P, you will sometimes get 1-frame dissolves on a hard cut. Again
most people don’t notice. But the biggest drawback is that any motion
effects such as slow motion will absolutely mess up a 60i to 24 conversion,
so it’s best to do it before editing, if possible.Finally avoid both high shutter speeds and unmotivated pans when shooting 60i
for conversion to 30P or 24P. It might look smooth at 60i but it
might not at 30P or 24P. 1/60th or 1/50th sec is OK. Following action
is OK. -
You might try DVFilm Atlantis https://dvfilm.com/atlantis
which will convert DV-NTSC clips to PAL and vice-versa
with high quality. -
[redindian] “Thanks MVB –
In HD100 prespective –
whats the difference between this Raylight/DVMaker+PPro2 combo ($195) and ConnectHD+PPro2 ($199)?”Please check with Cineform but I believe Aspect HD is for Premiere and
Connect HD is for Vegas.Not sure I can give you a comparison, but they all work. Raylight is a newcomer.
Give them a try. -
DVFilm Maker can convert mpeg-2 files from the JVC HD100 into
1280 x 720 Raylight AVI’s. If you purchase Raylight you can
get a license for DVFilm Maker included so the total cost is
just $195. See https://dvfilm.com/maker -
the free version of DVFilm Maker https://dvfilm.com/maker will play them without the Panasonic drivers or the P2 file structure, and can convert them to regular AVI or quicktime format, but you’re going to need a fairly modern CPU like a Pentium 4 or AMD Athlon 64.
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[pom_boarder] “Can anyone tell me what the effect of working with Raylight is on the files? To clarify, does raylight leave the mxf untouched and convert them to some sort of a proxy? What size is the raylight created file?
TIA”
Raylight creates a lo-res proxy (the Raylight AVI) and the MXF files are untouched. The frame data in the AVI also contain a link into the original frame data in the MXF file.
For 1080 line format the AVI is about 1/4th the size of the MXF file, for the 720 line format it’s about 1/2.
There is detailed info at https://dvfilm.com/raylight under “Raylight Documentation and Support”
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[BConover] “What is the workflow with this camera and Premiere Pro 2.0?
What extra drivers/plug-ins are required?Thanks!”
You’ll need Raylight https://dvfilm.com/raylight
The MXF files from either the P2 cards or a Firestore are converted to
Raylight AVI. The Raylight AVIs are then brought into Premiere
for editing.A tutorial on using Raylight+Premiere with the HVX200 is here
https://dvfilm.com/raylight/raylightTutorial1.htm -
[gary adcock] “Marcus that would be correct. Recording in the PN modes always result in less data being captured because there are not any additional frames being added”
I’m comparing one pn mode to another pn mode, (25pn to 24pn for example) and I’m talking about the number of bytes per frame. It’s different for the 50Hz camera. There are 240,000 bytes of good data but sitting inside a block of 288,000. This is why Apple, Avid and Canopus were all caught by surprise and can’t presently read the 720/25pn format. It does work with Raylight, though, and the new version of DVFilm Maker (2.3) which will be released later this week.