How often do you see an actual freeze frame? If you actually freeze-framed the footage you'd see that moving objects are actually blurred, it's just that when you see a sequence of blurred frames, your eye turns the motion blur into the illusion of motion.

That's pretty much it. Not many people can do it completely perfectly, even on a show like MNF you'll sometimes see an operator struggling with focus on a very tight shot of a player running toward him.

I take it you're referring to Skycam (or Fox's Cablecam, or whatever CBS is calling theirs)? It's not a fixed focus, but typically the shot is wide enough that everything can be in focus due to a large depth of field. Remember the photography rule that depth of field is related to object magnification on the imaging surface (film, CCD, whatever). With 2/3" chips head-to-waist is about the point where the depth of field starts to isolate an individual subject. Skycam is always at least head-to-toe, usually even wider, so focus is not that much of an issue.

I made some examples of how shutter speed affects motion rendering, including a hypothetical example of what an effective 720 degree shutter would look like and I have uploaded them here. In practice, you can achieve this effect by taking each frame and averaging it with the frame directly after, but ONLY with 1/50 or 1/60 shutter in 50 and 60p modes. You might end up with a slight "gap" in the motion trail, I haven't actually tried it.

I watch F1 all the time, and those super slo-mo shots of the tyres in the chicanes definately are made with a higher shutter then the frame rate. Don't know what the frame rate is, but it could be as high as 400. By the way. a high shutter speed is just the thing for sports. Otherwise you'd lose the sharpness due to motion.

In sports, shutter speeds are dictated by the action rather then by the filmic result....

Well, I'm not saying there aren't better methods of deinterlacing, but you always have a starting point with just half the information. You can blend, you can interpolate, ... and the results will indeed be better then 'just' cutting the resolution in 2....

Actually I have. And it's a bitch. 25p isn't the ideal format to shoot sports in, but it can be more then fine. Most people won't even notice. If you're doing ENG and can't have full control of your framing and POV when shooting, 25p will make it almost impossible to get nice fluent shots. Still, Newscasting isn't what this camcorder is aimed at...

Besides - no reason to get personal...

This is EXACTLY the point I was making. Shooting 100p at a shutter speed of 50 doesn't make any sense, because it is like shooting 50p (you should've know this if you actually read my post). It is actually possible to read out a CCD when the shutter is open, by the way - the read out might just end up somewhat strange. Anyhow, the point I was making was that shutter speeds below the framerate are nonsense, because they defeat the purpose of shooting in a high framerate - I was merely reaction to this statement:

I agree - and that's the kind of slo-mo you can see is slo-mo-ed video, instead of dedicated footage, meant to slow down (i.e. shot at high frame rates and high shutter speeds).

Well yes it does. and not due to the low framerate it is in... due to the look of that footage slowed down...

Hmmm, may be it's only here in europe they record and broadcast sports shot in high shutter speeds then. Those frame-by-frame replays usually have very little motion blur here...

Broadcast supermo cameras scan 180 fields per second in standard definition NTSC or 150 fields per second in PAL. HD supermo cameras scan either 120 or 100 frames per second (in 720p, fields in 1080i) depending on the standard. But I've mainly been talking about regular speed cameras slowed down.

A fast shutter makes for great still frames but terrible, jerky-looking full-speed footage. That's why you'll rarely see a supermo camera outside of replays.

Oh really? Broadcast stations are a significant market segment for the HD series. The local regional FSN affiliate around here owns an HD100 and is purchasing three HD250s. The camera itself was designed with a form factor that would be familiar to users of high-end ENG camcorders. A JVC representative mentioned in another thread that the 19.7 mbps data rate was chosen specifically so that HDV could be transferred over a microwave link used by newsgathering trucks.

Sorry, I was talking about the 24/25/30 fps only camcorders (HD100, HD101, HD110, HD111). Obviously the 250 (and possibly the 200) is more geared towards TV-work and newsgathering. 25p only like the HD100 is rather difficult for news...

Could you be more specific? Did you export as a TGA sequence or just slowed it down on the clip on the timeline?

Blue ch. noise with 85 filter on exteriors in daylight
 

Stephen, thanks for the test of the 250's new encoder, but how does the blue channel stand up outside with an 85 filter on?

Thanks

Bill dunn