Michael Sacci
1
COW Coin
Forum Replies Created
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the problem you are up against is the the shutter speed is a lot shorter than what 24p is shot at (1/48th of a sec) your footage is probably shot at 1/200 or 1/250th of a sec, which is what gives it Saving Private Ryan look. Other than removing all the extra frames in between the 24 out of 120 you need, you can try speeding up the footage and adding a motion blur or other type of blur to soften the fast shutter speed.
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are you saying you want this footage to playback at normal speed vs slow-mo as shot? You can try to do this in compressor. In video set the frame rate to 23.976, then in Frame Control duration to 500.005% of source. Do short sections and see if higher Rate Conversion is needed.
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there is no trick here, they need to send the tapes back to one or do a google search to find someone that does this service.
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Do they even have a HDV camera or deck to play them back? They maybe labeled as MiniDV but you shot HDV so they need that for playback. If they have that they can get a DVD-Record, and most cameras will downconvert the video to SD and they can record off of that.
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f4 is a “deep focus”????? that is a great lens for video and not his problem. The lenses you list are great but there is nothing wrong with the 24-105 f4L it is highly recommended lens by a lot of the big wigs in this movement.
Totally agree with the shooting flat.
Also if you read up on what the House team did with the footage you will see that a lot of work went into processing the footage.
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Check to see if your ISO is set to auto. This would try to keep exposure balanced from one exposure to the another but f-stop and shutter speed is the same.
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[Bobby Abate] “From what I’ve read, DVCPRO HD isn’t true HD”
That is a bad way of putting it (IMO) DVCProHD is a “THIN”raster HD codec, meaning that i has to be stretched out on playback, which if your editing system (FCP) does on the fly. This is to easy the bitrate load on a system and drives and it does so very well.But that being said this should only be used in conjunction with DVCProHD cameras. If you are not using footage from these cameras it would not be my first choice especially for graphics. For that I would use ProRes for the compressed format. Is is a full raster 1920×1080 codec, a little large in file size but it is also a 10 bit codec so graphics will hold up a bit better.
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[Tanya Meronk] ” I still have interlace artifacts that I don’t have on the progressive footage in native form”
How are you viewing your footage? If the Viewer or canvas is set to anything but 100% it is down sampling the image, cannot be use to judge quality on any level. If you are going to an external video monitor that does not support progressive video, the video card has to be set to reintroduce the interlace by adding the pulldown back in. If you have your canvas set to 100% you should be able to judge the image of the footage.But this is only if, and this is a huge if, the footage was transferred correctly and the camera was set on 24pA and not just 24p.
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[Randy Burleson] “LTO4 or Blue Ray? “
For backing up media, LTO4 is the only way to go, BluRay would take forever and you have 50GB limit vs 800GB (Uncompressed) with LTO4. -
This is one of the most confusing things, the way it is on the cameras. The HVX200 and the HPX170 both can shoot progressive in 1080 but it is segmented frames. The cameras display it as 1080i/24pA and 10801/30p. Segmented frames is not the same thing as interlaced fields. The camera takes one solid frame and then breaks it up into 1/2 frames to write to the card. Then when you transfer the footage (if done correctly) your progressive segments are made into true progressive frames. So in FCP you have a true 23.98 or 29.97 progressive sequence.
2 Segmented frames = 1 progressive frame
2 interlaced fields DO NOT = 1 progressive frame.If the camera was set on 1080i/24pA and you set the Log and Transfer pref to Removed duplicate frames or Advanced Pulldown, after the clips are transfered, they will be 23.98 in the bin.