24p questions

[Mark Monciardini]

Jake I totally hear you. Thanks for sharing.

Listen bud, In my first wedding I had really good footage then I had "give mom the camera" footage in there. I also disappointed my self. It looked like I wasn't holding the camera as still as I thought. Although I can hold camcorders so still you would think it was on a tripod. But the problem I had is the same one you had - I'm just too damn picky. I was always trying to get a good shot, then someone moves an arm infront of the lens or the person has this bad look on their face..lol. Crazy. So many things going on when the bride is getting ready. You have little time. Shoot shoot shoot. I found that you can NEVER have enough footage. I went through 6 MiniDV tapes and still wish I had more. I'm going to start adding the cost for the tapes on to the contract soon. lol.

Also what really pissed me off is that I thougt for shure I had the cam off, and after watching it back there is all these shots of my crotch and black shoes. So I waisted some more tape there but it's alright.

My problem is I'm trying to tape like if it was a film or something. But I have to loosen up a little bit now and think about what "they" want, not what you want. So you have to compermise your artistry in with "normal" looking shots. Sometimes it sucks but this is what I was born to do! I love this stuff!!

The first wedding always scars you off but hang in there you getting better and better after every one.

What do you normally do?

[Mark Monciardini]

Jake just go ahead and mix it all in Vegas, it will come out just fine. There is no special switches and stuff. If you have 4.0 then you're all set. I just did a 60i/24p video in vegas and didn't have any problems. Looks great.

[Jake McMurray]

I was using cine gamma under that harsh sunlight unfortunetly but I was using the nd filters and the zebra bars were few and far between. I just think there were to many shadows...like the sun was too low in the sky, it would have been better with the sun directly overhead from where I was I think.

I didn't have much time to play with the camera settings before the wedding. I only had it for like two days. That is a big reason why some of the footage is worse than others. I was learning stuff as I shot. I did do my best to white balance etc...

I'm currently a college student who works at Dairy Queen. Filmmaking is my main interest right now, more specifically sound production and mixing though I enjoy most aspects of film making.

I borrowed the dvx100 from a film teacher at my college who I will be working as the "sound guy" on his short film at the end of this month for a local film festival. He left for the weekend and asked if I wanted to familarize myself with the dvx, so what better way then to shoot a wedding? I'm definently more familar with this camera now and I'm sure it well benefit us later this month.

Do any of you guys have the lcd hood? One thing that bugged me was that I was constantly trying to shade the thing from the sun etc...

[Chris Hurd]

Jose's post was originally made in our Film Look forum; it didn't draw any responses so I've moved it over here. If anybody knows the answer, please speak up! Thanks,

[Jake McMurray]

Is there any purpose to shooting in 24p if one is not going to transfer to film later on. I'm so confused as to how this camera achieves this 24p thing, I realize that you can remove the extra frames to get it down to 24p but if your going to DVD/VHS which is 30fps does this 24p thing make any difference? Would my life be a lot easier and see no difference if I just shot in 30p?

[Jake McMurray]

oh and with 24p footage not destined for film does one not remove the pulldown or do anything else like that differently. Just you know keep it all 30fps?

[Jake McMurray]

I did a bit of intensive research on some other sites I just stumbled across.

What I am seeing is basically to shoot in 24pa, edit in 24p, then apply the 2-3 pulldown if its going out to NTSC 30fps playback...

keep the project in 24p when authoring a 24p dvd or transfering to film.

I'm assuming that shooting in 24pa is the way to go because it covers all formats basically. I mean if you don't want a 24p dvd, or a film transfer than shoot 24p. But you can apply a 2-3 pulldown to 24pa footage making it as if it was shot in 24p regular and edited in 29.97fps timeline etc.

Is this my answer?

[Stephen van Vuuren]

Pretty much yes. Some people who are know they are going straight out to 29.97 NTSC only and want to edit using software that does not support DVX100 24p modes will shoot in 24p standard mode so they don't have to reapply pulldown.

[Barry Green]

30P looks pretty much like 24P, and avoids all pulldown issues. But, if you ever want to transfer to PAL (or to film) you're hosed.

Also, if doing a full 24P native project, you can encode your DVD's at 24P, and save 20% on your file sizes (which will allow you to either fit 20% more on the disc, or use higher-quality compression).

If going for VHS release, you can use 24P Normal and not worry about fields or pulldown or anything, just shoot and edit just like it was 60i video.

[Desi Tury]

Barry if i shot in 24p normal. ? can i still get it on to DVD.

[Barry Green]

Of course! 24P Normal can be edited as a pure 24P project just like any other. And yes, you could make a pure progressive-scan DVD from 24P Normal footage.

24P Advanced offers a small increase in quality when editing in a pure 24P timeline on an editor that understands 24P Advanced (i.e., Blade 2, Vegas 4.0, or FCP 4). If you're not using one of those editors, or not editing in a 24P timeline, then 24P Advanced won't offer you anything more than 24P Normal does.

[Desi Tury]

Barry thank you very much for input....
Man you guys are fast..........

[Nick Medrano]

<<<-- Originally posted by Barry Green : Of course! 24P Normal can be edited as a pure 24P project just like any other. And yes, you could make a pure progressive-scan DVD from 24P Normal footage.
-->>>

Hi,
I think only 24p ADVANCED can give you a pure progressive-scan DVD since every frame is used, unlike the 24p STANDARD/NORMAL.

[Barry Green]

Either mode can be converted back to the original 24 progressive frames, which is what you need to make a 24-frame progressive DVD.

Both modes spread four progressive frames across 10 video fields. The only difference is in what order that spreading occurs. In 24P Normal, it is evenly spaced, at a 3:2 rate, which makes three whole frames and two split frames per five-frame sequence. In 24P Advanced, there is only one split frame per five-frame sequence.

So, to convert 24P Advanced back to the original 24 progressive frames, you simply drop one frame out of every five-frame group. To convert 24P Normal back to the original frames, you have to uncompress the video, un-split the frames, and then record out the original 24. A little more work but no less effective. There is, however, a tiny quality drop when doing it this way, since 24P Normal has to be uncompressed/recompressed, whereas with 24P Advanced you can copy the four compressed frames over in their native state.

[Nick Medrano]

Okay,
Thanks Barry!