A clue to 24F for Steve Mullen?
 

http://homepage.mac.com/pappasarts/....ROGRESSIVE.jpg

Whaddya think guys? Interesting...

Makes me think they're using a "frame mode". Would be interesting to take a Canon 24f clip (normal, colour) and replace the interpolated field with different de-interlace algorithms to see which looks closest to the original. Can you suggest a good clip for me to downloadm, Barlow, and I'll try and post back results.

Graeme

I'll try to put up a few for you, Graeme. I'll post later on today.

is he trying to compare an h1 1080 frame to a jvc 720 frame?

If I'm not mistaken, he wants to "deinterlace" a 24F clip, render it out as a new clip, and then compare it to the original.

Yes Barlow. I want to put my nice deinterlacer from my FinalTouch plugins onto it.

Graeme

Graeme, how about a 60i clip converted to 24p for reference too. I'd like to see if there's difference perceptually. btw, anyone with a nice 50i clip to share, that would be helpful too, as it might make a difference for some of us who are considering the PAL modification to know if it makes for better 24p conversion.

I want to just look at de-interlacing and resolution, so 60i to 30p would be my preferable comparison to 24f and 24f with de-interlace.

Graeme

btw, Graeme, I'm not sure how you can deinterlace a progressive frame? It's already done so how are fields going to be separated and re-deinterlaced?

Whenever I've seen 24f, it looks like on field is real, the other created. I want to throw away the created field and see if I can make it "better" from the real field.

Graeme

A red filter will inhibit a lot of green... that is what I have used them for in the past. If these cameras are using the green to do pixel shifting, wouldnt this make sense? The interlaced areas are where the green would fill up? I am not an engineer or anything, just a seasoned shooter. I am gonna throw a red filter on the HVX to see what happens...



ash =o)

Looking at the really nice footage that Barlow sent, it looks to me like frame mode. It really looks to be doing some kind of blend - it doesn't look aliassed enough to be a de-interlace, but it's too aliassed to be a total field blend. It actually looks really good - not perfect, but really good.

Graeme

Hey could somebody shoot a scene with a red filter and then shoot the same locked down scene without the filter to compare the results and/or post two frame grabs? It would also be great if you could use the remote control to zoom in and out and match two frames at the exact same moment in motion. Then we can really figure out what is going on with the second field during motion.

Why would anybody shoot this way in the real world? Narrative, television, documentary, even videography, wedding?

I've been thinking the same thing, Robert. I think there's just a lot of geek interest in reverse engineering 24F. It's an esoteric puzzle that really amounts to very little.

Edit: My post was a little premature. Mike shot this way because he likes to push for a different look of Black and White in-camera. Using a red filter can enhance contrasts. He inadvertently stumbled onto something that messed with 24F however, and wanted people to see it, warts and all.

The geek interest thing was in reference not to the red filter/24F thing, but just this fascination with figuring out the 24F scheme.