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March 27th, 2007, 03:58 AM | #31 |
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We have still not answered the question.
We only know that DVFilm Maker does a better job of 24P conversion than Vegas et al. How does 60i-24P compare with straight 24F in terms of quality? It is not just the resolution that is the important factor. I'd be very interested in seeing a side by side of 60i-24P compared to 24F. More specifically I'd like to know how 50i-25P compares to 25F. Marcus any comments? TT |
March 27th, 2007, 05:38 AM | #32 | |
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March 27th, 2007, 07:21 AM | #33 |
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My apologies. I missed Marcus' post confirming 24F is OK.
Still, I'd be interested in quality comparisons between 60i-24P vs 24F if anyone had performed such a test. TT |
March 27th, 2007, 07:54 AM | #34 | |
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http://www.dvinfo.net/conf/showpost....0&postcount=39 "60 i vs. 24F XH-A1 60i: 824.3 Lines Horizontal (MTF50); 810 Lines Horizontal = Limit@Nyquist 674.8 Lines Vertical (MTF50) XH-A1 24F: 810 Lines Horizontal (Limit@Nyquist) 590.4 Lines Vertical (MTF50) Vertical losses: 12.5% and less than 2% on horizontal resolution loss if beyond the 1440 restriction, slightly lower than the 60i." While this quantifies the origination results, it doesn't really speak much to the far more important, and more subjective, issue - how does it look, and what's going to "look" the best; taking into account that some of us will place more importance on having 24 discrete frames at the point of origination at the "sacrifice" of the upper most resolution the camera has to offer - and gladly do so. That's the decision Barry Green said he would most likely choose, and I imagine most users would likely follow suit rather than convert from 60i, save the few resolution hounds. So I guess the question then becomes HDV vs. another way out of the camera during origination, say either the HD-SDI of the G1/H1 or perhaps even the analog component out of the A1, at 4:2:2, to an as yet uninvented Cineporter like device that accepts analog component in. |
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March 27th, 2007, 08:15 AM | #35 |
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Todd
I am well aware of those resolution measurements but that is not what I am asking for. Perhaps I wasn't clear enough. I am interested in the conversion from 60i to 24P and how that compares to straight 24F. I.e what is the optimal solution for someone shooting with Xl-H1/Xh-A1/G1 and transferring to film. How much resolution is lost in the conversion process? Is it worth the extra steps in the workflow?? TT |
March 27th, 2007, 08:30 AM | #36 |
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The measurments are useful in the secondary quantification you're describing. The 60i to 24P conversion would need to lose less resolution than the amount that 24F loses in order to be useful at all, and that doesn't really take into account the subjective issue of preference of 24 discrete frames from origination vs. converting 60i to 24P in the first place. I guess only Marcus, and your eyes, could answer whether, resolution speaking only, if his software would cost less of a resolution hit than Canon's 24F or not - if it would actually be worth shooting 60i. It would be an interesting shootout to see - exactly how to get the best image to film from the H1/G1/A1 series cameras.
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March 27th, 2007, 08:42 AM | #37 |
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i thought pete bauer already answered this question. more to the point, i think it is implied. 24F is 24P, and all we're really comparing is the quality of film-out among flavors of cameras, which i don't believe has been done. i get the impression that there haven't been that many film-out tests conducted using 24F yet, and especially not as direct comparisons with other cameras. that's a pretty expensive and time-consuming test. most people spending the time and money testing for a film-out are trying to answer the question, "how is my existing choice of camera going to perform under the specific shooting environment(s) of my particular film?" rather than generalized testing or camera comparisons.
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March 27th, 2007, 08:50 AM | #38 |
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The original question has been resolved, the 24F to Film issue - it IS good enough, which isn't what the DVFilm site said up until yesterday morning. It think the question now is the "Canon cameras versus themselves" - since it was brought up as sort of a side topic, how does one get the BEST out of the camera for a film transfer? Perhaps that should be new topic altogether, since the original question has been answered by Marcus.
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March 27th, 2007, 08:52 AM | #39 | |
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I would have thought this would be interesting and useful information for someone delivering on film but shooting with a Canon. Perhaps I'm wrong. I didn't think what I wrote was too difficult to understand?? Am I wrong? TT |
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March 27th, 2007, 09:05 AM | #40 | |
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March 27th, 2007, 09:17 AM | #41 | |
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with the cost of a native 24F/P camera these days, why even bother with de-interlacing? if you can afford a film-out or even a film-out test, surely you can afford to shoot 24F/P in-camera. |
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March 27th, 2007, 09:34 AM | #42 | |
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DVFilm obviously know their apples from bananas as they appear to make a better fist of the conversion than their rivals. If you consider a static scene 24F will drop res by the default 12% but 60i-24P converted material would not. So I can see some advantage in converting from 60i to 24P. How much res one would lose in motion video is down to how clever the DVFilm deinterlacer is. TT |
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March 27th, 2007, 09:37 AM | #43 | |
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March 27th, 2007, 09:49 AM | #44 | |
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The Canon and 24F has not been widely adopted yet for film transfer here. We get lots of footage now from the HVX200, and also that has been the focus for us in the last year with our Raylight product. Because the HVX200 cannot experience a 15-frame dropout like the HDV cameras I have been happy to recommend it, because filmakers always ask us to fix dropouts and the 15-frame ones where the ugly patch follows the object around for half a second are pretty hard to fix. But probably you could get equal results with the Canon 24F as long as you can avoid that situation. Regarding canon 24F vs 60i converted to 24P, I would be happy to run a test if someone will send some test footage in the original (mpeg2 stream) format. Make sure the camera is locked down, perfectly in focus, and identical sharpen settings in each mode. A focus chart and some live action would be welcome. We have an upload site that I can email out. |
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March 27th, 2007, 10:08 AM | #45 |
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Are you requesting this for DVFilm's internal usage in determining what will be the best for future customers, or for potential client use? More to the point are you needing footage from the H1/A1/G1 to run tests at no charge to the footage provider, or a test for the footage provider at their expense?
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