Agreed, however, we want to see the effects and what to expect from different scenarios. If I'd have encoded the file @ 9Mb it would be HUGE and really the web space is hard to come by. This is to just give some ideas and idea of the type of stuff we're prepairing for transfer.

If we see something in the transfer that is alarming we'll let everyone know what to expect. As it is, the small sample is highly compressed and of course the transfer content will be uncompressed TGA sequences.

good luck amigos...

I learned a lot about this from Adam Wilt during the course of the 4 camera shootout last week. I got to see on a scope just how too much image enhancement destroys the signal.

I had been working with -3 or -4 detail on my HD100 prior to the tests, now I'm doing more of my own testing with -9 or detail off completely. As Jay Nemeth said to me...you can always add detail in post, but if you shoot with it, you can never take it away. I knew that before, of course, but adding an unsharp mask in post always seemed like it'd be a pain.

Since color-correction products like DaVinci do their own edge-enhancement when transferring film, but the film itself of course has none...I've decided maybe the best approach is to treat edge enhancement like I do color-correction. Necessary, but something best done in post where I can fine tune it for the intended distribution (small screen NTSC, large screen HD, or even NOT adding it for a filmout).

Stephen,

Thank you for posting the link - the footage was very interesting.

Do you know (or is there any way to find out) which lens was being used in all or some of the shots?

SHOOT on HDV100
 

Hey Nate, have you used your HDV100 to shoot any ov your videos?

The stock lens was used on all of the Chicago stuff (listed above). I can not speak for the oriental stuff. There are even more clips in the film transfer and the stock lens was used throughout.

Sorry everyone but the link to the file had to be cut... the load on my server bandwidth was WAY higher than I thought it would be. I hope that Stephen can find a temporary spot for his examples until I regain some bandwidth, it will be 15 more days until I can host like that again regardless.

Daniel,

You have been great to host those files and my hat's off to you for your gracious offer. You're tops in my book amigo!

Nate, have you seen a difference/improvement by turning OFF the detail? I have mysettings like at 0, or -3.

I find that reassuring. I am weighing the HVX/HD100 purchase decision and am finding myself gravitating towards the HD100 - and your link (and response to my question) really is assisting in that regard.

Thank you very much.

ringing has always been my biggest complaint about dv cameras when using them for keying FX. Forget about the low chroma space I can deal with that but a white and black ring around your subjects is impossible to get rid of unless you use a mask tool which doesn't give you a natural key and looks more like the subject was rotoscoped. One of the more important aspepcts of HDV for me was finally having a camera where I can turn off edge enhancement for VFX work. With DV this was a little tough because the image would really start to get soft. With HDV there is a lot more resolution to play with.

The Static-X vid, that's it.