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Old July 1st, 2003, 04:05 PM   #16
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Eric is right,

In terms of a film transfer, this camera is a bad investment for any serious indie filmmaker because of the 30p issue. The best way to shoot an indie, that may go theatrical, is either with 60i, 50i, 25p, or 24p. Many people confuse 60i DV theatrical films with 30p, but they are two different animals.
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Old July 1st, 2003, 04:09 PM   #17
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<<<--
That brings up a question, though, which might be better addressed outside this thread. Why does the DVX100 have such a quirky look in 24P when other 24P footage seems to look fine? Do directors like Lucas have special instructions as far as shutter speed or other settings that make the judder less noticeable or is it something else?
-->>>>

24P is exactly what youre seeing. You can't hold the camera in your hand and wave it like a flag and expect smooth looking footage. Plus if you're only judging from the LCD, it is known to shutter much more than the Video Output. Also, your shutter speed is a contributing factor to the motion artifact you will see in the end result.
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Old July 1st, 2003, 05:57 PM   #18
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<<<-- Originally posted by Glenn Gipson : Eric is right,

In terms of a film transfer, this camera is a bad investment for any serious indie filmmaker because of the 30p issue. The best way to shoot an indie, that may go theatrical, is either with 60i, 50i, 25p, or 24p. Many people confuse 60i DV theatrical films with 30p, but they are two different animals. -->>>

I just assumed that anyone shooting with an XL-1(s) would shoot using "Frame Movie Mode" or whatever Canon calls it, and I notice quite a few movies shot on Canons have had film transfers.

Here's a question, then. If you have a 30P master, why couldn't you double the frames via software rendering and arrive at a 60P master for pulldown?

In any case, my point is that transfer to film is prohibitively expensive to the vast majority of people shooting movies on video and that there are a number of theaters and festivals that can project 30P.
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Old July 1st, 2003, 06:10 PM   #19
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transfering 30p to 60p will not solve the problem since no new frames will be created in the process, there will be 2 identical frames consecutively wich will equal the 30p original footage.

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Old July 1st, 2003, 07:01 PM   #20
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<<<-- Originally posted by Eric Bilodeau : transfering 30p to 60p will not solve the problem since no new frames will be created in the process, there will be 2 identical frames consecutively wich will equal the 30p original footage.

Eric -->>>

Ah, that makes sense. Sorry. I don't have any experience going from video to film, it's all been the other way 'round for me. Never was very good at math and patterns, anyway. I look at the pulldown processes and thank goodness it's someone else's job to figure it out. ;-)

-Rob
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Old July 1st, 2003, 08:42 PM   #21
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>>I just assumed that anyone shooting with an XL-1(s) would shoot using "Frame Movie Mode" or whatever Canon calls it, and I notice quite a few movies shot on Canons have had film transfers.<<

Frame movie mode is actually terrible for film transfers, and most XL1 to Film movies were more then likely shot in standard interlace mode.
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