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Canon XL H Series HDV Camcorders
Canon XL H1S (with SDI), Canon XL H1A (without SDI). Also XL H1.

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Old April 23rd, 2008, 02:55 PM   #16
Join Date: Jul 2004
Location: Canton, Ohio
Posts: 1,771
Originally Posted by Tim Bickford View Post
In which way do 60i and 24f differ than the XL2? Also... would you recommend 60i or 24f for green screen?
The XL-H1 has less perceived resolution in 24f mode since it is creating the 24frames per second by processing an interlaced CCD block. I think the XL2 circuit looked higher res in progressive mode than interlaced which is a total flip/flop for the H1. Now don't worry that fact as it is still a higher rez image than most HD cameras in it's class anyway with the EX1 being the possible exception.

I just thought you should be aware of this as I still find when I am viewing 60i material shot on the H1 I am blown away at how crystal clear it is. It looks like looking through a window!

Good Luck.

On a side note I recently did a 10 minute short film for a local church that is a parody of Extreme Makeover Home Edition. Despite knowing that 60i was the best choice to emulate the actual reality TV show, I still shot it in 24P because I am a sucker for the look and feel of film. Nobody noticed or said anything because overall it looked more historical and less "live" to me than the real program does.

They loved it.

Good Luck again!
Marty Hudzik is offline   Reply With Quote
Old April 30th, 2008, 05:45 PM   #17
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Join Date: Jan 2007
Location: Sandy, Utah
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Originally Posted by Nick Hiltgen View Post
Hey Tim I've had good luck with my DSC presets they seem to give the most natural color. I would (if I were you) make sure I have some minus green gel on hand for an edge light and, you know, an evenly lit green screen. THis si the way i've done it for my past 5 and have had excellent results.

Couple of suggestions as well... Minus green / Magenta gels have been used for backlight to reduce spill in the past. It really depends on what you're using to key your scene as to whether or not you want to do this. Shake, dvMatte and even After Effects can use the information in the green spill in a few different ways, most popular is light wrap. The warm tint you can get using minus green on edge light can pose problems in this case as the keying software is looking for the same color as the background. If you're keying in an NLE keyer, the minus green can help. If you're not sure how it's going to be keyed, I'd not use the minus green.

Another suggestion is 1/2 stop hotter on your foreground (talent) over your background. If you're doing interactive / custom lighting to your background (dimly lit bar / room) and you need your subject to match, 1/2 stop hotter may not work. The big trick is to get your screen lit evenly (65 - 70 ire) and then light your subject separately. If the screen is lit evenly, you can underlight your subject and still have a clean key.
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