[Michael Sacci]

If you need to further slo down the clip you can do it in FCP but it will look like crap. You can do a much better job in Motion with the use of Optical Flow encoding. There are also plugins that you can use in FCP but they are for purchase (Twixtor).

check out – https://vimeo.com/17905045

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[Michael Sacci]

[Mike Thomas] “until I realized that new filmware is coming out all the time for all the models” Unless you are talking about Firmware HACKS this is such a non-issue. Some of the Firmware that has come out is normally to fix something not to add features to the camera. The 5D needed a firmware update to change the frame-rates to something that was actually usable.

Magic Lantern Firmware is good, I may try it on my 60D by they are hacks and have a level of risks to use. Although the risk seems to be small there is a risk.

[Michael Sacci]

There are plenty around, plenty being used every day. I would say they are used in a closed loop company video, people that just don’t have the budget for a new camera.

The thing if you shot with this camera it is a short lived product. Not many people want there video shot in SD unless you are giving them an unbelievable discount. But it cost you no more to shot on HD so why would you want to give a discount. They are also 4:3 cameras so even if you are going to DVD you really want to be shooting 16:9 which a camera like the HVX200 can do to tape.

I don’t see these cameras bringing even a $1000 these days. The price that comes to mind would be no more than $500 but I’m just grabbing that out of the air.

So I just my thought would be I would never buy one of these cameras now, if I need one and someone did only want a SD video I would use it if I didn’t have a real HD camera.

[Michael Sacci]

There are a lot of the DSLR gurus that simply turn down the settings with out using something like superflat.

Sharpness – (0) all the way to the left
Contrast – all the way to the left
Saturation – all the way to the left or one back
Color Tone – (0) In the middle

This doesn’t mess with the curves and seems to be a good compromise between shooting flat and being able to color correct it a little easier.

[Michael Sacci]

[Romeo Rubio] “7d and is 60i (59.94)”
DSLR do not record interlaced so it is 60p not 60i

You have to convert both movies. I would start again and convert to ProRes and not (HQ).

On the slow mo, choose the ProRes Progressive Preset, set the framerate to 29.97, then in Frame Control, turn it on and down at the bottom Retiming, choose Play source as 29.97.

Do the same for what you want to be 29.97p but do not turn on the Frame Control. Also for this make sure the audio is set to Enable with PCM 48/16 setting and not pass-through.

Do short clip of each to test.

You can slow down the clips in Cinema Tools also (I just use compressor by habit)

[Michael Sacci]

[Levi Thornton] “24p”

Is it really 24p or is it 23.98 (23.976) you need to be exact, if you will not post all the settings you may not get help.

How did you convert the files to ProRes, more details please.

[Michael Sacci]

Did you convert the H264 camera codec to ProRes for editing in FCP? What are your sequence settings? Especially framerate?

[Michael Sacci]

[Ed Ng] “Panasonic states it is 1080p to the chip”
I think this is where the confusion is (and the confusion maybe on my part) The Chip is not a 1080p, it is a 720p chip (1.1 mill pixel) but it scans this at 1080p and then converts it to whatever the settings are.

So I will rephrase my statement. Most people that I know and have read consider 720p @ 60p or 24pN to be the sweet spot for the HVX200 and HPX170. One advantage to shooting at 720p24pN is the record time is increased 2.5x.

[Ed Ng] “Does everyone use H264 for Apple Pro Res!”
Not sure what you are asking here.

[Michael Sacci]

In 720p I would always shoot pN for 24 or 30, 24p is most like film, but you can also shoot 60p with just gives you a smoother action. There is no right or wrong here is it what you like. You have to play with the settings and develop your style.

On these cameras there is no ISO, it is gain and for the most post you are locked into a single setting. You can gain up but because of the small chip you get noise right away, you don’t have the latitude that a DSLR has.

You would want to use manual focus on a shot like that, to make sure you are the sharpest you zoom in all the way, focus and then reframe the shoot. Always recheck focus in between shoots. And I don’t think your focus was bad, just it may not have been spot on. The flatness of the lighting will alway take away from the dramatics of the scene.

If you do not have Barry Greens book on the camera get it. It a users manual with the why behind every aspect of the camera. Best thing you can get. He gives you settings that are better in low light and have less noise to mention a few.

[Michael Sacci]

Sorry, I’m pretty sure it is the other way around. The camera up-samples to 1080, but it does a good job at that. But if you are doing to distribute as 720p it makes no sense to me.