DVL-Digest 853 - Postings: Index Cameras. FCP expansion plan What if.... Cameras. - Adam Wilt Forgive this question. I am about to buy either a PD150 or an > XL-1...since most of my shooting will be done at dusk and at night, with > very little lighting, which camera is preferable for low light shooting? The PD150 is a bit better. > The other main attraction of the XL-1 (apart from the lens) is the Frame > Movie Mode,,,can this effect be simulated by the PD150 by altering > shutter speed? And is it really worth buying the XL for this feature > (and the lens) over the PD 150? If you need FMM, the Canon is the way to go. You can fake it with the PD150 by setting the shutter to 1/30 but the Sony line-doubles a single field in this mode and vertical resolution is decidedly worse. You're better off shooting 1/60 with the Sony, and then using the 50% superimpose method in post, as described in other threads recently. > Then, the lens : I'm looking for a look closer to film than to video (I > know, you've all heard THAT before). I've heard that the Sonys (VX and > PD150) have a much more inherently video look than the Canon, The Sonys have a cooler look compared to the strong magenta cast of the Canon, all at their default white balance settings. I find that the color cast more than anything else gives the "film" impression. > and that this is due to the lens above anything else. There's nothing about the "film" look I can attribute to the lens. Frame Movie Mode and the magenta color are the two things about the Canons (the GL1/XM1, too) that give 'em "film look." The color on the Sonys can be adjusted (or modified in post) to be more red/magenta dominant, too. The Sonys and the Canon GL1 let you turn down the edge enhancement that screams "video!" whereas the XL1 has it fixed. The Sonys are less subject to vertical smear on bright light sources, and they have perhaps a half a stop more latitude as well. Me, I'd go with the Sonys, unless I need Frame Movie Mode, in which case the Canons or the Panasonics are the only sensible choices right now. I've shot with both and made very nice pix with both. There ain't no single perfect camera. Cheers, Adam Wilt FCP expansion plan - "Perry" Robert Fisher posted: >Try the Digital VooDoo board, it's uncompressed at 10bits and SDI in/out only but you can get the really cool anything to anything box from ProMax I think its the DAMax, it is approx < Thanks for the post Robert. Just to pursue this a moment (sorry folks, but hopefully it has some general interest): If my contact started on say a G4/FCP basic DV system with say an RTMac board to get composite or Y/C interfacing with low end machines (and of course improved preview speed), then it seems to me that he might as well then jump straight to the SDI/uncompressed solution to allow interfacing with broadcast decks. Since he will hire these by the day, he might as well plan for a Digital Betacam or DVCPRO50 deck with SDI and cover all the BetaSP and DVCPRO sources on the way. If he does this, he might as well put in a fast SCSI RAID system in the G4 from day 1. Assuming he goes with a pair of internal drives on SoftRAID, what would be the minimum spec for the required drives to make uncompressed video possible? The Digital Voodoo site is pretty vague about this. For instance, would a couple of Quantum Atlas10K drives yield enough speed? If he then uses the Fast/wide SCSI board to access an external drive array, would it be possible to then use this array as a method of transporting video and audio to an AVID? Presumably this would require a render to the appropriate Avid codec? thanks Perry Mitchell Video Consultant http://www.perrybits.co.uk What if.... - Adam Wilt How do you pull down 24fps to 50i? A 25:24 pulldown: repeat one frame per second. Hey, I didn't say it would be pretty! :-) The only advantage here is avoiding the 4% speed change, as long as your NLE discards the repeated frame. > If you just do 2 fields per frame, you're recording progressive PAL, > which some existing cameras do. And which I recommend with PAL XL1s/XM1s/EZ1s/AJ-D215s/etc. > A true variable rate would be good for motion effects (Overcranking > for slomo on video is a nice idea), Unfortunately this is difficult on DV25 where you don't have the bandwidth for extreme overcranking. The AJ-HD27V gets a 2.5x overcranks (at a nominal 24fps playback rate) because its native capture is 60 full frames per second, not the 25 or 30 of standard-definition television equipment. > but why go through the pain of pulldown when you could work in PAL instead? > Or am I missing something? For the NTSC world, working in PAL can be difficult as most folks don't have PAL editing and display capability in their equipment. Many people who would otherwise use proscan PAL for digital cinema primarily need their equipment to work in NTSC, to do the day jobs and pay the bills, so PAL becomes an unaffordable luxury. In the PAL world, which already and routinely deals with the 24/25 fps conversion and the attendant 4% speed change, I can't see a reason not to stay with proscan PAL for digital filmmaking. Cheers, Adam Wilt (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
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