Achieving 60p look with HD100?

[Bill Edmunds]

I see that the HD200 will offer a 60p mode for a more interlaced look. Is there a way to fake this with the HD100 in Final Cut Pro or something?

BTW, I got my free Anton Bauer Dionic 90 set. I have no use for it, so if you're interested in a great deal let me know.

[Tim Dashwood]

What the HD200/250 offer is a new encoder to encode 720P60 to HDV tape.

The HD100 does actually "clock" at 60P when shooting, so if you have the means to record the 720P60 live output of the analog outs then you can get 720P60 on from the HD100.

If you have shot material in 30P, and you want to manipulate this material in FCP to "emulate" the temporal motion of 60P, then there isn't really an easy way to do it. I was thinking that maybe Twixtor could help create intermediate frames, but I don't have enough experience with that plugin to say for sure.

If you don't need HD, but want the look of any old video camera, then you could shoot in either DV 60i or HDV 480P60. NTSC DV would be much easier to work with in FCP.

[Tim Dashwood]

Originally Posted by Bill Edmunds

BTW, I got my free Anton Bauer Dionic 90 set. I have no use for it, so if you're interested in a great deal let me know.

Bill, you should post your battery system in the classified forum.

[Steve Mullen]

Originally Posted by Bill Edmunds

I see that the HD200 will offer a 60p mode for a more interlaced look. Is there a way to fake this with the HD100 in Final Cut Pro or something?.

IF ONLY! :)

By the way, you do not use 60p to get an "interlace" look. You use it so you do not get the "eye strobing artifact" from 30p or from 24p. Follow the link below:

http://www.gyhduser.com/article.php?...-Motion-Filter

[Greg Milneck]

Originally Posted by Bill Edmunds

BTW, I got my free Anton Bauer Dionic 90 set. I have no use for it, so if you're interested in a great deal let me know.

Bill,
I am interested in the set.

[Stephan Ahonen]

60p is not an "interlaced" look because it is PROGRESSIVE video. An interlaced look means mouse teeth on moving objects, jittering on thin horizontal lines and an overall reduction in vertical resolution. 60p is more accurately called a "video look" or a "smooth motion" look, or perhaps an "overcranked" or "slo-mo" look if you're using it in a 24p production.

You can capture 60p from an HD100 by taking the analog component outputs and capturing them with a DDR. Apparently someone's coming up with one that is portable enough for handheld shooting, but for now you'll have to tether yourself to a video village to shoot 60p. Which is why I'm waiting for the HD250.

[Carl Martin]

I shoot 30p and the video is fine. No eye strobing, or any problems.

[Steve Mullen]

Originally Posted by Carl Martin

I shoot 30p and the video is fine. No eye strobing, or any problems.

What you don't see, you don't see.

As with all motion artifacts, it's the nature of the motion vector that matters. That's what the rules for shooting 24p provide -- a way of keeping the vectors below that which would trigger the artifact.

And, since the artifact is created in one's brain, people vary in their sensitivity. Was watching Under the Cherry Moon tonight where there is a 720 degree pan of a dining room. Toward the end of the pan, either the camera pans slightly faster or my brain finally had enough -- and there was the artifact.

It's also a function of shutter-speed. The slower the shutter-speed, the more motion blur, and the less the strobe. That's the idea of the motion filter. It tries to create a blur.