Very nicely done. May I ask what that was? Seemed very surreal.

was just a camera test.... my friend was doing a commerical for panasonic "olymipcs". I asked if i could film some "behind the scenes footage" nothing to speical just test footage!

It is nice footage. Cool white ninjas, too, heh heh. How much light was actually used on the set? It's a pretty low key style of lighting, but still looks like quite a lot of studio equipment was utilized, which is something I won't be able to do. Imran, how about some frame grabs from your footage?

Well both the things I shot that I was referring to were for other folks, not myself. However, while I don't have that footage, I can probably dish up the tape that I had of the random test footage I took using a few varying settings.

I'll post back as soon as I find it.

Imran,

Can you post the settings you used on your night shoot? Sounds like they might be a good starting point for some tests.

Sorry guys, I haven't had a chance to look for my test tape yet. As soon as I find it, I will post.

24P grabs:

http://www.ywenzstudios.com/caps/01.jpg
http://www.ywenzstudios.com/caps/02.jpg
http://www.ywenzstudios.com/caps/03.jpg
http://www.ywenzstudios.com/caps/04.jpg

shot on DVX100 so would = DVX100A with no gain.

Nice. Really impressive how the camera recorded the 4th frame. All of them look better than I thought they would after what I heard about the camera's iffy performance in 24p at night. Do you have any night shots like the first frame only with about 1/4 the number of lights? That'd be pretty close to the typical light levels where I'll be shooting.

Another thing I'm curious about. I assume you white balanced in all four examples? The various types of light don't seem that different from what a human eye would see. I was also surprised that the car headlights had a distinct blue cast when I was expecting a warmer look from them, unless, of course, they all had Xenon bulbs. Frames 1 and 3 seem to be the same location, but that big radioactive looking building (or whatever it is) is green in one frame and blue in the other! Was that a result of your settings or variable lights on the background object?

Thanks for posting the frame grabs, Yang. I already have a much better sense of how the camera will behave at night in 24p.

Those colored buildings look like those things from Ken Tanaka's Photos... The crazy cool video 'sculptures' in Chicago's Millennium Park.

http://www.pbase.com/tanakak/crown

I forgot what white balance i used on each shot. The lights definitely weren't that blue.

It would appear you're correct, Imran. The sign in one of Yang's pictures says Grant Park, which it turns out was expanded to accomodate Millenium Park. Now I know what that weird "building" really was. I can sleep better not having to ponder that anymore....


Anyone have some twilight 24p stuff? I'd sure like to see what the possibilities are of using the 100A to generate evening-for-night footage with available light only.

You did the right thing shooting 24pa if you want to record out to 35mm film. It's going to be very expensive to do so, in the tens of thousands of dollars. It can look very good if the film out is done well. Once it is filmed out it will stand up better being projected on large screens. You do need to re-edit in 24fps to have accurate cuts.

If you stay in the video realm you should bump up to Digibeta for projection. I wouldn't project from a DVD. You could even try uprezzing to HD but IMO, that is a hit-and-miss proposition. Some scenes just won't look good.

Transfer depends on the film chain quality you want. For a 90 minute video to film tranfer it can be as much as $50,000.00 as long as you stay with one of the smaller labs in New York, Atlanta, etc. that specialize in this type of service.

24p edit ?
 

If I've read it right. the DVX100a records 24fps on to a tape at 60fps so you can edit it. If that is true do you thing it would work with FCX or FCX2. No funds yet for the pro.

Any editing program can edit the footage as 60i footage. It'll still look like 24P, but you'd be editing the 60i footage as recorded to tape.

If you want to edit on the raw 24P data, you'd need a program like FCP HD or Vegas, something that knows about the 24P sequence and can extract it from the 60i footage.

This was taken from the Panasonic DVX100a info:

24p Advance Mode - For 24p Non-Linear Editing
In 24p mode, images from the CCD can be 2:3 pulldown-converted(24p Mode) or 2:3:3:2 pulldown-converted (24p Advance Mode) and recorded onto tape in the standard 60i TV format. The tape can then be played back or edited using an ordinary DV system. True 24p editing can be achieved by uploading 2:3:3:2 pulldown-converted images via an IEEE1394

So if I recorded in 24p can I put download to my Mac and edit using Final Cut Express or FCX2?

Yes you could edit the footage, just like you could edit film footage that had been transferred to video.

What you couldn't do is a raw 24P edit, because FCX doesn't support 24P editing. But you could edit the footage as 60i just fine.

24p to 30p?
 

We recently shot some footage in 24p accidentally, though the final project is being shot in 30p. We're using Final Cut. Any idea on the best way to convert this footage over to 30p so we can edit in the same timeline?

Thanks,

AJ

You'd probably have to telecine the 24p into 60i and then deinterlace that into 30p (?).

I'm no expert on FCP, but you could probably edit it on the same timeline if you just captured the footage from tape as 29.97 and don't remove any pulldown.

"Bumping Up" DVX100A 24p to 24p HD???
 

Does anybody know if it's possible to get the 24p sequence out of an editing system onto 24p HD tape? Could you export OMFs or Quicktimes?

It seems even the DVX200 is designed for 1080/60i.

It would be nice to have a 24p master for a film output option.

Anybody experienced in film outs from the DVX?

The DVX can do a pretty good blowup from 480/24 up to 720/24. I've done sample blowups using PhotoZoom Pro software and was quite impressed with the results.

Pushing it to 1080/24 was not satisfactory, but up to 720 looked pretty good.

I've blown DVX footage up to 35mm film. The footage is on DVFilm.com's demo reel, which you can request from them for screening in your own town's theater. Overall, the results were decent to excellent, depending on where you were sitting in the theater. If you were up close to the front, the results were pretty good, but not outstanding... definitely way, WAY better than "28 Days Later" or "Open Water", but not gonna fool anyone into thinking you'd shot on 35! But sitting in the back of the theater, the image looked fantastic. Easily could pass for Super16.

Thanks for the reply! Very helpful info. I'll check out the DVFilm website.

I've got to respectfully disagree with you, Barry. I've seen "28 Days Later" many times, including at the theater. I just watched it last night on HBO. I think it's the best looking mini DV movie I've ever seen. Yeah, it has a edge enhancement look about it but it looks surprising better the DVX shot, "Murderball", which IMHO looks like hell.

Peace.

Uhh... yeah... 28 Days Later and Open Water are not even close. The muted colors on 28 Days Later were intentional and the print I saw looked better than any DVX blow up I have seen...


ash =o)

I don't know what to tell you -- I saw 28 Days Later in the theater and thought it looked awful awful awful. I'm sure on DVD it looks fantastic, but on the big screen it was horribly soft and grainy and edge-enhanced.

I thought it was completely unacceptable, and really distracted from the experience. Granted they wanted a certain look, but it was rough to watch.

It also depends on where you sit in the theater -- if you were towards the back, everything looks much better than if you're closer to the front...

Hrrmmm... there were 2 master prints made of that... maybe 3... I saw the later one with the different ending and it looked terrific. Most people I saw it with thought it was shot on 16mm with some DV mixed in. Open Water was CLEARLY DV the entire time... The best SD bumps I have seen have come from the XL2... 24P DVX stuff can look quite good. Going to film is a whole other animal and requires preparation and execution every step of the way...



ash =o)

Didn't you get a little stair-stepping on diagonals when you used PhotoZoom Pro, Barry? I seem to recall it was mild and the picture otherwise looked great -- better then the HD10, in fact.

how to mix and detect 24p and 24p Advanced footage in post?
 

Okay, i have a small problem.

I have been shooting a series with the dv100, and normally i use the regular 24p shooting mode--however, in one instance, someone else decided to shoot in the 24p Advanced mode. This wouldnt be so bad if i knew which footage had been shot in that mode! 90% of the material is shot using the standard 24p mode but there is some footage that needs to be digitized that is 24pA and i have no idea which footage it is.

So my question then is: is there anyway of knowing when you have to digitize whether footage is 24p or 24pA? Is there any kind of in-camera display that will let you know? Is there any way of checking to see if the framerate is 24fps?

The footage i think is being digitized into adobe premier; i know FCP has some kind of built in detection plug-in but i dont think Premier does.

and then once i know which has been shot using 24p and 24pA, how is it possible to mix the footage? Would the 24pA footage have to be converted to 29.97?

I don't know how FCP or Premiere handle the pulldown. In Sony Vegas software it's completely transparent -- it doesn't matter whether you shot 24p or 24pa, the software removes the pulldown on the fly and you can freely mix & match both modes; it makes no difference. I believe FCP makes you pre-process the file to remove pulldown. Don't know how Premiere does it.

As for determining which is which; there are two ways. One, if you have the camera original tapes, you can tell when playing it back -- toggle the COUNTER button a few times and you'll see it changes from timecode to a counter to a frame rate display -- it'll print "24P" or "24PA" on the screen.

If you've already digitized the footage, the way to tell is to single-step through five frames. If you see three sharp progressive frames followed by two interlaced frames, then it's 24P mode. If you see four sharp progressive frames followed by one interlaced frame, then it's 24PA.

24p on a 23.98fps timeline?
 

We shot some footage on 24p and then subsequently shot the rest of our feature in 24pa. We captured the 24pa with the pulldown, and are now working on a 23.98 timeline. What's the best way to bring the standard 24p footage into the workflow?

Thanks,

arne

issues with DVX100a-shooting in 24p
 

ok....i'm not sure what the hell is going on here..when i'm shooting at 24p i get lots of ghosting when i pan around or zoom in and out on a moving subject..etc....i havent reset the camera yet to original settings ..but i also havnt played with 24p setting much either..so yah...
does anyone know what could be going on here....i recently taped an event and it turned out like $hit....

i dont know if its just my eye..or maybe i'm expecting more..but there is just a ton of interlacing and ghosting especially when up close to the television....bah.....this is frustrating


*so it turns out my tv sux ...i just cheked the footage on antoher telly and it seems to be ok....but still i gues with 24p u cant really whip pan and zoom cuz it'll turn out not to good

Cinema Tools
 

If you're running a Mac system you could use Cinema Tools to perform a Reverse Telecine on the 24P standard clips and then import the reversed clips into FCP and cut away!

Yeah, it depends on what editor you're using. If you're using Vegas, you can freely intermix 24p and 24pa footage without doing anything different, or needing to do any pulldown removal, etc.

lots of lookers but no replys..hmmm

Dear Saturnin,

I have read that the DVX-100A has a tendandcy to GHOST in 24p. And you should expect the fluttering when shooting in 24p. I've no experience with this but I've read other posts that address the issues of posting 24p on the web. Good luck. I'm right there with you buddy..... not sure what the hell is going on either.


Steph

yah...the thing is ....looking at footage on your pc screen is fine..cuz it looks damn good...i've seen tone of videos that are shot on 24p with 1/250 shutter and it looks pretty nice..but now i wonder how it all looks on the television?
hmmm
i gotta do more tests.....

Accidentaly Shot 24p instead od 24pa on DVX
 

Hey Guys,
On set my finger or when handeling the camera changed the scene file dial to f5 from f6 and shot 24p accidentally. Most of my footage is 24pa but there is some places where it has happened but I dunno where. Is there any way I can check to see which parts are 24p. Im capturing into final cut pro with the advanced pulldown preset so it's removing the pulldown while capturung. I am worried about the parts that were shot with 24p, what will happen when it gets to those parts. I know about one specific part that was 24p but Im sure it has happened a couple of times during shooting and I need some way to know where they are.

Thanks

You can easily tell which mode the footage was shot in, assuming you have the original tape (which I presume you do, since you're digitizing from it!)

Just play it back in the DVX, and cycle through the "counter" button options -- one of the options displays the frame rate it was shot at, and it'll either say "24P" or "24PA". Using that you can tell exactly where the switch took place.

Thanks Barry I didn't think of that!!!
You are the man!!

-Gev