[Philip James]

Does anyone have any more advice on choosing a camera between this list?

Thanks

[Philip James]

Thanks Dave

I agree with a lot of what you are saying but not all of it. I don’t see ISO and aperture as ‘artsy-fartsy’. I see them as key fundamentals of film-making, particularly aperture which is one of the most important decisions I will make in a shot. My work is more ‘art-film’ than other genres but I do have very high production values and it’s often a balancing act between quality and features with a camera. I want to retain as much information as possible but it’s not as simple as that. There is a reason that the Arri Alexa is one of the most sought after cameras in the film-industry and it’s not pixel count. It can’t get close to an 8K Red – the Arri tops out at 3414 x 2198 as far as I am aware. I’ve used the Alexa and it’s a great camera. So it’s complex. I do need certain features in a camera and higher rates of slow motion are key for me since a lot of my work is about shifts in perception. Sometimes I do compromise resolution deliberately to access very high frame rates (10k, 20k +) to get a particular type of shot. I have done this on Vision Research’s Phantom cameras many times.

With my new camera I am trying the find a balance – great quality yes but also a good feature set. Low light capability and ISO range I would be prepared to sacrifice over other some other features such as a good range of slow motion. It’s about finding the right tool for the job and then I can get creative!

[Philip James]

Also pointed out by Neil – thanks Neil : )

[Philip James]

I got to the root of what I was doing wrong in Compressor. I had set the ‘Native Field Dominance’ of the file to ‘Progressive’ instead of leaving it be. When I changed that back to ‘Top first’ I got a decent de-interlace.

This doesn’t explain the lousy de-interlace experienced from FCP export but all ends well.

Many thanks for all your help and patience with this issue – I REALLY appreciate it : )

Phil

[Philip James]

Thanks Bouke – I’m playing with it.

Phil

[Philip James]

I need to keep it very simple – the person is very new to video content. I’m also concerned that I haven’t been able to address the issue at hand by doing my own de-interlace and I’m not sure why. If there is another issue going on I don’t want to pass that problem on.

[Philip James]

Thanks Chris. It’s not going to a pro company but someone who will not know what to do with the interlacing issue so I’d like to address it for them.

I guess my question has been answered to a degree but my concern is that I haven’t been able to get results using the methods outlined. When using the de-interlace option in FCP QT export I couldn’t really see any improvement. Then I noted that you and Bouke suggested not using the FCP de-interlace but doing it as a separate stage. I then tried Compressor using the settings I outlined. That didn’t work either.

Am I missing something or could there be something else going on with this footage that can’t be addressed by de-interlacing?

I really appreciate your help on this by the way : )

[Philip James]

Thanks Chris

Ultimately this is for web content. I shot the material and cut a selected rushes sequence in FCP. I’m then going to pass that on to a contact in the US who will cut it for web. I usually shoot 25P on my projects so not used to working at 50i. I just want the material to be watchable online. There is a lot of movement in this since it features runners – the field issue is therefore a big deal. I wanted to do any de-interlacing before I pass the material on.

Thanks

Phil

[Philip James]

The resultant QT file from the above settings in Compressor didn’t solve the interlace issue.

[Philip James]

I’m now running this through Compressor. I’ve used Apple ProRes 422 for interlaced material (High Quality) and set Native Field Dominance to ‘Progressive’ in A/V attributes. Have I covered it or is there anything else I should take into account to have a successful de-interlace?