So...where's the footage?

[Barlow Elton]

There's a 1080i up called "15.m2t"

www.homepage.mac.com/mrbarlowelton

[Barlow Elton]

Shannon,

btw, did the 24F actually show up as 24p in Vegas? If so, that's very interesting because HDVxDV doesn't specifically support the H1. It just captured what was being spit out via Firewire. Some of my captures were mixed 24F/60i material in the same clip. The program didn't blink.

[Shannon Rawls]

It absolutely did. I only downloaded 8.m2t and H1-2.m2t. Both clips were detected by Sony Vegas 5 as PROGRESSIVE SCAN, 23.976 High Definition Footage on my PC.

That's what I keep trying to tell folks....it's a 24PEE camera. It comes down the pipe as such. Nothing else to do it but slap it on your timeline and cut it as normal.

And Barlow....my brutha.....you gotta do someting about these file names. *smile*

- ShannonRawls.com

[Barlow Elton]

Originally Posted by Shannon Rawls

And Barlow....my brutha.....you gotta do someting about these file names. *smile*

- ShannonRawls.com

Yeah, I thought somebody might raz me for that. I was in an office conference room capturing clips, and when you hit the capture button in the program, it asks for a file name before it proceeds, so instead of wasting time describing the scene, I just punched in numbers to get as many clips captured as possible.

[Nick Hiltgen]

Originally Posted by Barlow Elton

What codec did you transcode to? I'm wondering how it held up.

I'm pretty sure I was on daylight WB.

I used apple intermediate codec, seemed fine to me. I've come to loathe the preset white balance these days simply because of the fact that they never seem to be entirely accurate. "daylight" is almost never daylight, Color temps change throughout the day and then with enviornmental factors as well (over cast in this case). I mean it was still real close in this case but I think maybe a manual white balance would have given a little more saturation. But I could be wrong, either way the footage is awesome and I love the HDVxDV conversion software.

My camera is slated to arrive in a week, so hopefully I'll be able to post some footage then as well.

[A. J. deLange]

Here's a 20 second clip: http://homepage.mac.com/ajdel/FileSharing1.html
It's a Quicktime file of about 65 MB. All shots were with the 20x stock lens. I did a little tweaking in FCP WRT to contrast and color balance but did not touch saturation.

[Kevin Wild]

Thanks, A.J. People will need to add the .mov to the file. At least I did.

Clips 1, 2 & 4 were okay to me. Clip #3 was really nice. I guess it had richer colors and some nice depth to it.

Looking forward to getting mine tomorrow.

Thanks again.

Kevin

[Nate Weaver]

Originally Posted by Barlow Elton

You have to stop recording in order to use the focus assist,

I think that's absolutely crazy. I'll never for the life of me imagine how they thought that was/is "good enough".

I really like the camera and wish I had the $$ to purchase, but...man, that's not a small deal.

[Barlow Elton]

Originally Posted by Nate Weaver

I think that's absolutely crazy. I'll never for the life of me imagine how they thought that was/is "good enough".

I really like the camera and wish I had the $$ to purchase, but...man, that's not a small deal.

I'm going to test it again this weekend. I believe you can use peaking while recording. It may be something you have to get the hang of, but it should be a viable alternative.

[Nate Weaver]

Yeah, I know. Peaking, if adjustable, is great. I hope it proves to be enough.

I already know what buttons will wear out first on my HD100...it'll be the Focus Assist buttons.

[Lauri Kettunen]

On my webpages www.luontovideo.net -> Special
is now a same view taken with the standard XL H1 20x and the wideangle 3x lens in PAL 50i mode.

The settings were "knee=low" and "black=stretch", and the footages were captured to Premiere and then exported to Cineform M2T PAL 1080i files. I also have a couple test results of "neutral", "knee=low", "knee=low + black=stretch", but something odd happens when I export the files from Premiere to Cineform M2T files. (... as if the files were not PAL 1080 interlaced files, but instead, progressive files. Furthermore, for some reason, Export command in Premiere offers me every time in the video settings Cineform JVCProHD 720p although I keep changing it to Cineform 1080i PAL.)

[Bill Taka]

Lauri,

Thanks for giving us your recent reports. I have visited your site but really couldn't determine if there was dramatic difference between the 20X and your primes. I don't need more footage. I trust your opinion and by now I'm sure you have tried all your lenses. Will your primes (specifically 400mm and 600mm) be useful with the H1 or no as Canon says?

[Lauri Kettunen]

Originally Posted by Bill Taka

Will your primes (specifically 400mm and 600mm) be useful with the H1 or no as Canon says?

Currently, it seems they are useful, especially the 400 and 600 mm without zooms. Focusing, however, is more challenging than before. Or should one say, if it's not precisely in focus, you'll also notice it immediately in editing. "Peaking" and "magnification" are though helpful, but on the other hand, as it's difficult to keep the system stable when you turn the focusing ring, especially with the 600mm the feeling is like focusing during an earthquake.

[A. J. deLange]

I've tried 105, 135 and 300mm and found them all useable but remember not to stop them down below about f/8.

[Nate Weaver]

Originally Posted by Lauri Kettunen

On my webpages is now a same view taken with the standard XL H1 20x and the wideangle 3x lens in PAL 50i mode.

The 3X looks a little soft to me, but not in an obvious way...more like the look of what happens with iris diffraction. It's not nearly as soft as I expected, though.

Definitely usable in a pinch, or if you're shooting SD, or if you're shooting HDV for downconverted final product.