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#31 | |
Space Hipster
Join Date: Oct 2001
Location: Greensboro, NC
Posts: 1,508
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Quote:
You both may be right. 24F and 30F are not anything like CineFrame from Sony - looks like progressive motion. However, footage does lack much filmic feel despite Vegas reporting it as 23.976 progressive footage (except I also get the 24F clip labeled as 29,97 progressive. Like the early HD100 footage, we can't jump to conclusions yet. We need some carefully shot A/B comparisoins. |
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#32 |
New Boot
Join Date: Jul 2005
Location: McAllen TX USA
Posts: 21
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Hey Kaku,
You are the man, I actually wen't to Tokyo Japan for 10 days and documented my trip with a Canon XLS.... I had tremendous time and managed to make a mini crappy documentry DVD for my friends to check out. I'm trying to finance another trip and take a friend with me this time...Know let me get to the point... It was hard shooting in Shibuya Crossing with all the flashing lights and and cars. I ended up with some harsh CA and lens Autofocus problems. Im very intrested to see how it handles at night with the extreme amount of neon lights and activities and how it compares with my amatuer footage of TOKYO AT NIGHT..... Thanks Eli PS. ROPPONGI ROCKS |
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#33 | |
Wrangler
Join Date: Oct 2002
Location: Los Angeles, CA
Posts: 2,100
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Quote:
The clips labeled bikeseq24 & 30 are actually both 30p. The cappucino making clip and the cars passing with panning clips are 24. There may be others, but I know offhand those are 24, I checked them. |
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#34 | |
Regular Crew
Join Date: May 2005
Location: Stockholm
Posts: 100
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Quote:
I think the XL H1 is a great 1080i video camera but I prefer the 24P JVC look over the Canon (24P vs 24F)...and this comes from a long time Canon fan and a person who would previously not even touch a JVC. Until somebody convinces me with better 24F footage my opinion stands! |
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#35 | |
Space Hipster
Join Date: Oct 2001
Location: Greensboro, NC
Posts: 1,508
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Quote:
We have yet to know exactly how the 24F is set in the camera, processed etc and what shutter speeds etc. all this was shot with. These clips, though fun to look at, are not really enough to make solid judgements with. |
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#36 | |
Space Hipster
Join Date: Oct 2001
Location: Greensboro, NC
Posts: 1,508
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#37 |
Regular Crew
Join Date: May 2005
Location: Stockholm
Posts: 100
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Yeah, thats right, and non of them where 24F.
I guess Stephen is right, we will have to wait until more footage arrives! |
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#38 |
Wrangler
Join Date: Oct 2002
Location: Los Angeles, CA
Posts: 2,100
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Another XLH-1 clip
Alright. View, in VLC back to back, if you will:
http://homepage.mac.com/nweaver/.Movies/XLH1-24p-1.m2t http://homepage.mac.com/nweaver/.Mov...ywoodBlvd1.m2t The XLH clip is in 24. |
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#39 | |
Major Player
Join Date: Aug 2004
Location: Kangasala, Finland
Posts: 445
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#40 | |
Major Player
Join Date: Mar 2005
Location: Seattle
Posts: 427
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Quote:
I actually did see some on the car passing / panning clip (a truck actually) some green rimming on the rock at the lower right of the frame and a little purple on the mirror of the moped parked right of frame. It's very minor, however. The abberation I've seen from JVC grabs seems more pronounced? All and all, I think it looks pretty nice, actually. Video-y or not. |
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#41 | |
Space Hipster
Join Date: Oct 2001
Location: Greensboro, NC
Posts: 1,508
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Quote:
Interesting - I think Barry Green is absolutely right about his 24F theory. Objects in motion seem unaturally soft compared to still background. The look is very much like motion adaptive deinterlacing you get with a software product like DV Filmmaker. I'm liking more the theory that 24F is two 48i half rez 540 line frames that the DIGIC processor puts together. Maybe that's the reason 24F cannot be wrapped in yet another stream and Canon had to create a new HDV format - too much processing? That also means no real 1/24th shutter speed like DVX, Varicam, CineAlta as well. I don't use it that much on my DVX, but very handy in low light scenes where there is not much subject or camera movement. I could be way wrong, but that's what I'm seeing. |
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#42 |
Barry Wan Kenobi
Join Date: Jul 2003
Location: North Carolina
Posts: 3,863
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Haven't seen those two clips yet (conversation & chromatic-aberration) but that just reminded me -- Tim Smith, the Canon rep at ResFest, did say that the XL H1's lens "resolves 1200 lines".
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#43 | |
Wrangler
Join Date: Oct 2002
Location: Los Angeles, CA
Posts: 2,100
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Quote:
The JVC uses repeat flags, a way of just putting 24 real frames inside a 60 stream without wasting stream bandwidth on redundant frames. Repeat flags are well known MPEG2 spec according to David Newman, but I've run into plenty of software that doesn't recognize it. It appears to me that Canon did the same trick, using flags. It has nothing to do with how the Canon got those 24 frames from the CCDs....that's another issue entirely. |
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#44 | |
Major Player
Join Date: Aug 2004
Location: Kangasala, Finland
Posts: 445
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#45 |
Trustee
Join Date: Mar 2004
Location: Milwaukee, WI
Posts: 1,719
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Wow this is going to be one heck of a braodcast camera. It should make for a very nice HD camera for those wedding shooters who do not mind spending $9,000.00 on a camera. I haven't checked out things very well yet but so far I do like what I see. I do agree however that I have a hard time deciding if it is worth the cost. This is even more true now with Barry Green's find of the tapes not working in any current HDV deck. I cannot remember the last time I actually used a camera for editing.
Barry do you know or think tapes in 60i would work fine in a current other 1080i deck/camera? I can see why the 24f and 30f may not work because of the flags but what about straight everyday 60i? Kaku maybe if you get a chance you can see if tapes recorded in 60i playback from your HC1? |
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