[Phil Balsdon]

Here’s video blog of my workflow for what you are trying to achieve.

https://www.steadi-onfilms.com.au/vlog/12/04/2009/jvc-hdv-video-into-final-cut-pro-6

Hope it works for you.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

I used to have problems bringing the files in using the default HDV Easy Setup.
I now use A workflow that brings the footage in as Apple ProRes, seems to be very reliable.
I lose 6 frames of video between each camera stop / start. I suspect that’s to do with the 6 frame GOP structure of the HDV.
Video demonstration here;
https://www.steadi-onfilms.com.au/vlog/12/04/2009/jvc-hdv-video-into-final-cut-pro-6

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

Looks like PAL 16.9. (Anamorphic) SD.
Possibly originated from Digi Beta or SP Beta hence”Uncompressed 8 bit 4.2.2″.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

If you capture as HDV-Apple Pro Res you will only lose 6 frames between each take. Files will be bigger so you need to make sure you have a big enough media hard drive. Editing experience will be faster and better and quality will hold up better.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

Flash 9 onwards is compatible with H264.
Export your movie as Quicktime H264 then change the file from .mov to .flv.
It will open in Adobe Media Player and SWF & FLV Player.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

The adaptor is a rented P & S Technik Mini 35. They supply an adaptor lens to fit, but you can’t buy it separately.
Focus is a BFD.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

The Pilot will just handle the weight. You could remove the camera battery and power the camera with the Pilot’s power and a 4 pin XLR cable.

Another tip, buy a couple of Manfrotto 357 sliding plates, put one on the Pilot and one on your tripod. This allows for much faster tool free change over between the Steadicam and tripod.

If you can afford it though buy the Flyer because one day you’ll need to add a light or lens adaptor and the Pilot won’t cope. This is what happened to me on my first shoot using the Flyer https://www.steadi-onfilms.com.au/steadicam_flyer.html

The Flyer will also handle cameras like the Panasonic HVX 502 and stripped down RED. Someday a producer will come looking for an experienced Steadicam operator with a camera like these and you’ll be ready.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

Was the original DVCProHD footage shot with a HVX series camera or a broadcast camera such as the Varicam or the newer P2 full resolution 2/3″ cameras?
The chip specs on the HVX200 make it quite low resolution, possibly why Panasonic can obtain the 4.2.2 colour space.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

I’m using the Miller DS10
https://www.miller.com.au/product_details.html?camera_brand=4&camera_model=214&type=&system=&application=&series=&id=202&back_url=%2Fproduct_center_results.html%3Fcamera_brand%3D4%26camera_model%3D214

Would possibly prefer the DS20. The website has locations worldwide. This might be possibly a very small amount above your $1200 budget but they are very robust and excellent quality.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

I think you are confusing shutter speed and frames per second. PAL is always 50 interlaced fields per second. An odd field and an even field together make up one frame and so 25 frames per second. Hence the term 50i. PAL will always record at 25fps. For NTSC footage interlaced footage can only be shot at 29.??? fps or approximately 60i.

Setting the shutter speed exposes each frame for that setting (like in a still camera) but does not change the frame rate. So setting a shutter speed of 1/60th shows 25 frames per second (PAL), but each frame only exposed for a 1/60th.

For slow motion this gives less blur on moving objects but setting faster shutter speeds creates a strobe effect on video played at normal speeds which gets more obvious as the shutter speed increases.

I used to shoot a lot of sport for a major Australian sport program, the preferred fastest shutter speed for action sport was 1/400th of a second. Faster speeds than that tended to make video replayed at normal speed too jerky to watch.

Cameras that shoot progressive scan can be set to shoot a limited selection of frame rates, 24p, 30p and 60p in NTSC land and 25p, 50p and often 24p in PAL land.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/