HV20 slow-motion clips

[Ali Husain]

someone here might find these useful. note that the canon footage was shot when it was much darker. i didn't know i'd be comparing these two cameras or sharing these clips with anyone outside of friends: there are some flaws in the comparison. details are below:

http://www.bakraa.com/slowmo/

(try not to crash my server: please right click and download)

running_hv20_720p.mp4 - 14.2MB: CC'd canon footage
running_hv20_original_720p.mp4 - 8.9MB: original canon footage (shot 1080i60@1/500)
running_hvx200_720p.mp4 - 8.2MB: CC'd panasonic footage (shot 720p60@1/500-i think)

issues and details:
- the CC'd canon file is at a higher bitrate than the others (not intentional: didn't make much difference though)
- the canon footage was shot in, to use the scientific term: "lowish" light conditions, during or right after sunset. the panasonic footage was shot in the very late afternoon. the canon footage was shot last week. the panasonic footage was shot last august.
- the canon footage was shot using a wide-angle lens (that sucks up stray light like Hades) and no shade/mattbox. the panasonic was shot with the built-in shade and no extra glass.
- grey t-shirt in the panasonic footage; brown shirt in the canon, but the same dark blue running sweats in both.
- the panasonic footage is color-altered more than the canon footage
- almost no cloud cover in both shoots: fwiw, a very clever person could estimate the absolute amount of light falling on the scenes by noting the position of the sun (length of the shadows), time of year, location, etc.

settings:
canon:
1080i60, 1/500th(i think), TV-mode, aperture probably wide open, image probably gained up (don't have control over this of course), "shade "white balance (i think), will have to double check these--but i think: custom settings: contrast -1, detail -1, brightness -1
panasonic:
720p24, 1/500th(i think), no idea what the aperture was (definitely not wide open), probably: cinelike D + cine-like matrix

workflow:
panasonic: 720p60@1/500th->p2->hdlink->cfhd->vegas->24p->h.264
canon: 1080i60@1/500th->hdlink->cfhd->vegas->24p->h.264

[Ian Albinson]

Wow! How is the HV20 footage treated in the NLE?

[Johan Bunis]

Dont find the words, that look absolute fantastic!

But I dont understand how you did that, searching on google aboute "hdlink" and after that Cineform but dont see the workflow yet (sorry)

Please, help me out to understand, have you done 1080i to 60P with help of downsize it to 720P? How mutch slowmotion is it, 50%?

Excuse my bad english, this is my first post..

// Johan


edit: Can I get the same result in Premiere Pro 2.0, with help of the Cineform?

[George Anthonisen]

I think he is saying that Cineform was used for the capture... Sony Vegas was the editor that did the rest (slo mo... conversion...)

[Joey Atilano]

Looked awesome to me

[Robert Ducon]

In "running_hv20_original_720p.mp4 " the person looks to be running slo mo to me, despite you listing it as original footage. So, original after slomo.

Which wide-angle lens are using? It looks fantastic! I have an old Sony but it vignette's more than I'd like on full-wide. Does your lens vignette?

The canon footage is very sharp, and I see no grain at all - for lowlight, of any camara, it's great.

[Rafael Lopes]

Ali, you weren´t kidding on you other review about the slow motion being as good as the hvx´s. What was you workflow to obtain such realistic slow motion? I tried a couple of times on premiere and it comes out very jittery. Yours is perfect.

[Glenn Thomas]

Slow motion can be done without any effort in Vegas just by setting the plackback rate of a 60i/50i clip to 0.5. Of course the progressive mode setting in properties also needs to be set to interpolate fileds.

No idea how it would be done in Premiere or if it's possible.

[Steven White]

Just change the clip duration in Premiere Pro - and it usually works. Apparently Premiere Pro CS3 should be even better at this. There are also ways to pull it off in After Effects.

As usual, you have to be careful about field settings, as the basic process is converting 60 fields to frames.

-Steve

[Rafael Lopes]

I tried shooting with the A1 at 1/120 shutter, using 25F and then I imported it to a 25F timeline on premiere pro 2.0 and slowed the footage down with "properties-->speed". But it looked nothing like this.

[Toenis Liivamaegi]

Raf, 25F on A1 is no-go for slo-mo.
Shoot in 50i (if PAL) with shutter at 100 to get realistic 1:2 slo-mo with realistic motion blur.
I don`t know if you have AE 7 but it does a really great job with time remapping via graph editor, google for tutorials.

Cheers,
T

[Rafael Lopes]

Originally Posted by Toenis Liivamaegi

Raf, 25F on A1 is no-go for slo-mo.
Shoot in 50i (if PAL) with shutter at 100 to get realistic 1:2 slo-mo with realistic motion blur.
I don`t know if you have AE 7 but it does a really great job with time remapping via graph editor, google for tutorials.

Cheers,
T

Thanks, Toenis. I have to give that a try. Apparently the new version of premiere will be able to handle time warp/slow motion as good as AE. I have AE but I would really rather being able to do everything on premiere.

[David Garvin]

Originally Posted by Robert Ducon

In "running_hv20_original_720p.mp4 " the person looks to be running slo mo to me, despite you listing it as original footage. So, original after slomo.

I have this same question. Is that clip 'original after slomo?'

EDIT to note: I guess that is the case. In this situation the word 'original' simply means no color correction?

[Tomas Chinchilla]

Originally Posted by Rafael Lopes

I tried shooting with the A1 at 1/120 shutter, using 25F and then I imported it to a 25F timeline on premiere pro 2.0 and slowed the footage down with "properties-->speed". But it looked nothing like this.

That's because you shot it in 24p (F), A1 footage will run circles around these type of cameras, you need to be shooting at 50i/60i at a speed of 120 of higher, then de-interlace to 60p using interpolation and add to a 24p timeline.

I hope I didn't get you confused.

[Rafael Lopes]

Originally Posted by Tomas Chinchilla

That's because you shot it in 24p (F), A1 footage will run circles around these type of cameras, you need to be shooting at 50i/60i at a speed of 120 of higher, then de-interlace to 60p using interpolation and add to a 24p timeline.

I hope I didn't get you confused.

My nose is bleeding, but it´s ok. ;)