Matt Devino
Forum Replies Created
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I’m pretty sure you need to remove all of the NTSC footage first then put it back in.
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I always use shake to make sure my credit rolls are moving at 4 pixels per frame so I don’t get any jitter going on when playing on an HD monitor (i think you can set this up in motion too). It’s a pretty standard speed and looks great in SD too. You set the position of the roll for the first frame, then on the second frame move it up 2 pixels, then tell shake (in the curve editor)to continue this linear motion for the entire length of the roll and it moves the roll at a constant 4pixels/frame. I create my end roll in illustrator and base the dimensions around the length of time for the roll i.e. a 3 minute roll in HD would be 3min x 60 seconds x 24frames/sec x 4pixels/frame = 17280 pixels by 1920 pixels. Layout your text in a document this size and your good to go. Sounds like a lot of work, but it will make the best possible looking rolling credits you can get.
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You could probably get away with doing all of this in FCP Studio2, but I would figure out first exactly what your delivery requirements are. I just did a similar online where we had DV 24P footage from a DVX100, upresed to HD1080P and did the online finishing on HDCAM SR. The only problem was the delivery format the distributor required for digital projection couldn’t be done in FCP, it was a weird MXF based XYZ color space file that efilm had to make for us. Also for your upres stuff I would get a copy of combustion, it does a much better software upres than Final Cut.
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Check out this article… https://www.dvinfo.net/canonxlh1/articles/article06.php
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Like what in specific? As long as you have a professional off camera mic there shouldn’t be any discernable difference in audio quality. You could always record to a DAT too. If you’re going to film I would put picture quality and resolution first in my camera choice, then audio second as there are viable work arounds to getting professional audio (like a DAT or recording to laptop), and you won’t need your audio married to picture anyway for film out. You’re going to have to split the audio mix away from picture and treat the audio as a seperate element for lay-down.
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Yes it should, although it does look great. I always shot in frame mode on my GL-2, I think just has a better aesthetic. I’ve shot a lot on the XL-H1 and to be honest there really isn’t any visual loss in resolution. It’s definitly not any worse than doing something like pixel shift from a 960×540 chip to 1080 like the hvx-200 does, and I would say that camera makes great images. Canon claims there isn’t any degredation of image quality in F mode, and I’ve seen a few tests online about it and people seem to come to the conclusion that they’re right. Maybe it’s just because there’s so much more resolution to begin with than an SD camera. Either way the canon cameras make really nice looking progressive images from interlaced chips, but I would expect to see new cameras from them very soon with progressive CMOS chips like the hv20. They’re giving rebates on all of the current prosumer lineup and when Canon does that it usually means they’re comming out with something new soon.
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In my opinion, if you are going to film, you need the extra resolution. Both cameras will shoot progressive, and you can handle the pulldown just as easily from either. My suggestion would be to shoot the V1U and get the footage transfered to HDCAM and just be done with it, forgetting about the HDV editing problems altogether. Yes HDV has some compression problems, you may see artifacts here and there, but DV ins’t exactly the greatest format in the world either as far as compression goes. You should be able to get a sharper image with more room to play with in post if you shoot the V1 and transfer to HDCAM.
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I know in FCP6 that if you’re working in DVCPRO HD and you put your 720P24 footage in a 720P60 timeline it automatically adds pulldown without a need to render. You could do this then add the 1080i footage and scale it down, then at least it would be running at the correct frame rate instead of trying to convert to 24. It won’t make your 720P footage look any different because it always plays back at 60 anyway when on a TV. I don’t know if this works with HDV but give it a try.
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Frame mode uses interlaced sensors and some black magic Canon won’t let anyone know the technical details about to create progressive images. In the end there isn’t a difference between frame mode and progressive as far as what you see and how the video signal is processed in post, the difference is how you get there.
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Yes, 30F and 24F are both frame mode. 24F is just at 24fps. 30F is exactly the same as frame mode on your GL-2.