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-   -   24p questions (https://www.dvinfo.net/forum/canon-xl-gl-series-dv-camcorders/34265-24p-questions.html)

Yi Fong Yu July 14th, 2004 09:34 AM

24p questions
 
if you use both in a 2 camera shoot/setup you won't get matching qualities, correct? i know i could set both to the same 30 and it will match but if i use xl2's 24p it won't match the xl1s in post right?

Peter Moore July 14th, 2004 11:15 AM

The look will not be the same that's right. There probably will be noticeable differences. Keep in mind you'll have to convert both to 60i in order to use in the same project also and you won't be able to go back to 24p then (not easily anyway).

Desmond Sukotjo July 17th, 2004 11:34 AM

24p 30p 60i on PAL
 
I was wondering if the PAL version would be 24p 25p 50i. Is there such thing? Or this option is for NTSC only?

Thanks

Chris Hurd July 17th, 2004 01:48 PM

PAL frame rates are 25p and 50i only. The human eye can't detect any difference between 24fps and 25fps anyway. Converting 25p to 24p for film transfer is a fairly straightforward post-production process. Hope this helps,

Mark Kubat July 20th, 2004 09:46 AM

24p "strobing" in LCD/eyepiece during shooting?
 
Hi folks - the DVX100 LCD display is known to give a funny "strobing" as it compensates in realtime while shooting in 24p mode and my Canon rep who has access to an XL2 is saying that he feels the XL2 is doing the same thing - you really don't get a sense of the 24p/30p until you actually capture the footage and play out live after editing/rendering.... Shooting 24p with the eyepiece and moving around to pull focus etc. is darned irritating in the DVX100 and I have to admit that as a result, this feature would seem to be limiting given the XL2 only has 2 inch LCD/eyepiece... any thoughts?

It's difficult to use auto-focus in the DVX100A - I only have older version avail. to me - because of the processing delay in 24p? - is this also the case in the XL2?

Should maybe do more homework here but just thought it'd be easier to ask outright - is autofocus supported in XL2 while in 24p mode? Is there still a "delay?" that essentially renders autofocus in 24p as being un-useable?

The DVX100's "focus markers" at least help compensate for this a little bit...

Can anyone recount early experiences shooting in 24p with XL2?

Salazar Cragmore August 6th, 2004 09:39 AM

A recommended realtime NLE for XL2 24p footage?
 
Hello.

I am new to DV filmmaking and am looking to setup a camera and editing package based on the XL2. I am looking to shoot an indie featue in 16:9 / 24p to have the option of printing to film. The XL2 looks like it will do it's part, but I'm a little lost as to what I'll need on the editing side.

Can anyone recommend an affordable realtime NLE system (hardware and software) setup that would be appropriate for such a project?

I looked into the Matrox RT.X100 Xtreme, but it seems as if it's not 24p compatible.

I am looking for a PC based option.

Any suggestions would be appreciated.

Thanks,
Salazar

Kaku Ito August 6th, 2004 10:12 AM

Maybe Avid Xpress DV?

Brian Gauthier August 6th, 2004 10:46 AM

your best bet might be Vegas... but check it out...

Richard Alvarez August 6th, 2004 02:33 PM

If you want a true realtime hardware/software solution for the PC. Then AvidXpressDV with MOJO is your best bet. Total price of the software and Mojo will run in the neighborhood of 3 grand. (Not counting the computer system).

Avid, Vegas and Premiere all have "realtime" capabilities. Meaning their software uses various methods for giving you "realtime" previews. If you are shooting in 24 with transfer to film in mind, and don't have a lot of effects and rendering to do, then they will all pretty much give you realtime out as you edit.

Rob Lohman August 7th, 2004 04:22 AM

Make sure the NLE you choose understands 24 fps DV (2:3 or
2:3:3:2 pulldown), like Vegas does for example.

p.s. one small comment. I don't know what you are planning to
do etc, but it kinda sounds like you are going to pay a lot of
money for a (good) camera and then try to get everything else
as cheaply as possible. Again I don't know how you are
approaching this, but there is a lot more to acquire then just a
camera and an editing station. If you those two things are just
the two things you can barely afford then it might be better to
look at some other options.

John Mercer August 7th, 2004 04:47 AM

Avid Xpress Pro, Vegas (PC only) and FCP (Apple Mac only) all have the ability to capture and output 24p advanced pulldown. However Avid Xpress Pro requires Mojo for output and cannot handle 24p standard pulldown at the moment. I am not sure about Premiere. Non of them require the DVX100 (or XL2) for capture or output - the cadence is part of the software and the way it was shot - any deck will do, although obviously you can only shoot 24p on a camera like the DVX100 or XL2 when it arrives.

A word of caution: 24p advanced is specifically designed for output to film. It has a different 'pulldown' sequence than 24p standard, which is more akin in its look to normal telecined film on NTSC.

If your main intention, truly your main intention, is to go to film output then you should shoot in 24p advanced and you will need one of the above NLEs. However if film output is a remote possibility, which seems to be the case for most people - not saying this is so for you - then you would be better off using 24p standard - 24p advanced has a kind of judder that some find unacceptable on NTSC monitors.

Best regards,
John.

Barry Green August 8th, 2004 02:58 AM

If you're going to be editing on a 24P timeline, 24P Advanced has several advantages -- easier pure-frame extraction, plus it uses the full-frame DV compression option, rather than the field-by-field method used for interlaced frames. And there are reasons to shoot 24PA other than film transfer. Editing in a 24P timeline allows for easy creation of a pure 24P DVD, which lets you fit 20% more info on a disc (or, alternately, encode at a higher bitrate for better quality). Also when editing in a 24P timeline you would spend less time rotoscoping or masking or compositing, because there are 20% fewer frames to work with.

If you are going to videotape, you can shoot 24P Normal and edit it in a 60i timeline. If you intend to be editing on a 24P timeline, you should unquestionably shoot 24P Advanced mode.

Bill Pryor August 12th, 2004 08:13 PM

Are you sure that's right about Avid requiring the Mojo box for output? I didn't know the box had anything to do with 24p.

Jeff Donald August 12th, 2004 10:05 PM

I think Mojo is required for RT.

Bill Pryor August 13th, 2004 08:46 AM

We've got two Xpress Pro systems with no Mojo. I didn't see a need for it. Most all effects are real time, but you have to render those effects before going to tape. Takes up to about 4 or 5 minutes for a half hour program usually, unless there's a lot of chroma key.


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