Randall3
Forum Replies Created
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‘Everyone in the 24p/HD world pretty much knows who you (Jan) are already and the fact that you are willing to come out so willingly and openly about the gear is a huge part of why people appreciate and are loyal to Panasonic.’
That’s a fact. You’ve done a much better job of getting the Panny message out, Jan, than ‘Tosh’ can ever do. Tosh is a fake, you’re not – that’s why HE’S counter-productive.
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“Can’t it be fun?”
Of course it can be! Tosh is conglomerate targeting ‘indies’. Slightly (or fashionably) irreverent but technically on the button. Bemis with a spec sheet. The Aflac Duck with a bigger vocabulary.
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It’s important to understand that when you desire a true 16×9 picture – you must select a widescreen format to fill the entire 16×9 screen. When people talk about bars on the the top and bottom of picture, they are talking about a letterbox format – which is 4×3 making the footage LOOK 16×9 with the bars. That may be your best option because someone with a widescreen TV can scale the 4×3 letterbox image up to fill their screen. The downside is this: whether it is scaled by the viewer or by you on the timeline (remember, you are essentially zooming in in pan/crop to FILL the 16×9 format) to get 16×9 picture from 4×3 footage – you will lose resolution!
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‘What do you think is the simpelest thing for me to do to get my final product 16:9?’
Set your project preferences to widescreen. Pan-crop to fill 16:9 (you are actually zooming in – and will lose some of the frame top and bottom.) Past that pan-crop attribute to the rest of your clips. Now you have 16×9!
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Here’s what got me – I thought the info from ‘Tosh’ was excellent. But, I thought ‘Tosh’ was a real live person. When I passed the site on, I learned I had been fooled – adding a ‘personal touch’ Panasonic should have anticipated, but didn’t. People don’t like being fooled. Here endth the lesson…
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There really is no need to split the left channel into two via hard wire. Do that in post – better quality as well.
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‘What also throws me for a loop is they just released the DVX-100B a couple of weeks ago….’
It’s the not the timing of release – it’s the lack of P2 in the DVX100b that puzzles me. That would have been a good move on Panny’s part. Just my opinion – but converting studios to P2 should start with DVPRO25. Maybe they thought that move would steal some of the HDX200 thunder – who knows?
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Bring a bag of marbles to rotate the plate as you zoom in. Bring incense for ‘steam’. Take photos instead of video if you are not going to show movement or steam and then zoom in post.
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There are plenty of ways to demonstrate the difference of HDV and DVCproHD, but you can’t stand there and complain about MPEG2 on a DVD encoded with, guess what, MPEG2!!!!
The same problems show themselves on the Windows Media HD encoding (5m bit rate) on the disk – it’s not a specific MPEG2 problem. The right side of the split-screen is definately HDV but labeled DVX100a. What’s the left side? The DVX100a shooting interlaced? Why would they do that?
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Both cameras exhibit interlace problems in the split-screen – with the labeled DVX100a being, by far, the worst. The previous clip of the runner in DVCPROHD did not have any interlace problems.