How Does 24F Compare With 24P Panny?

Barlow Elton · February 28th, 2006, 10:17 AM

Quote:

Originally Posted by John Benton

Ha Ha !
Yes - after much deliberating, as you know because you were so instrumental in my decision making process, I jumped and bought the Beast !
I LOVE IT - got it late yesterday, so I have barely had time to play with it and decide if it was truly the camera for me. I don't think there is a question anymore. I am still slightly in shock (and debt). The footage is insane and there is a lot to learn.

Muuaaaahhhh haah haah haahh!! *Dr. Evil laugh* Awesome! Glad it was a careful evaluation. Lots to consider when *gulp* paying the H1 premium...but I think you'll be very happy! It is a Beast, no doubt. Lots to learn (I am by no means a master) but it's wonderfully easy to use at the same time. And of course...it goes to eleven. Have you seen the eleven setting on that knob doohickey down below?

Quote:

I captured directly to Powerbook, firewire, 1080i 60 & just took the Captured quicktime. I just glanced att your earlier post and tried it fast.
Should I convert to DVCpro? (Isn't that just applying another codec and loosing info?)
Seems like converting from 1080 > 24p this way gonna be better footage than finegling 24f into final cut through the varios methods that have been posted.

Yes, it's applying another codec, but if the results are clean (mine have been) then you're good to go in a more easily editable format. Like I've said...when Apple finally supports 24F it will probably negate this whole workaround, much to my relief as well as many others.

Are you capturing 24F directly in FCP? I only get skipping footage in the capture window and it's unuseable. If you're using HDVxDV it will capture the m2t's, and then you can convert to DVCPRO HD with MPEG Streamclip.(free program)

The reason I've gone the SDI route is because it seems like there's a subtle improvement in the conversion quality...but probably not enough for anyone but a geek like me to perceive. I also like the simplicity of capture this way. It's like super-firewire.

Quote:

Anyway, Barlow I have to thank you! You are really one of the main forces that let me see the truth of this camera in these last few months and I appreciate it greatly.
J

The truth shall set you free, brother! Oh wait, do you really want the red pill?

Hey, you gotta shoot some NYC stuff, especially at night. Give us some cool, moody, city atmosphere to chew on. Pretty please...my iDisk is yours.

Anyway, glad you've come aboard John. How will you mainly be using the camera? Indie filmmaking, docs etc.? Corporate video/commercials/TV work etc? Weddings? Don't laugh but this is one of the main markets the H1 (despite price) is really targeting.

Good luck and feel free to email me if I can be of any further assistance.

Barlow

XL-H1 owners: The Few, The Proud...The Few

Barlow Elton · February 28th, 2006, 10:36 AM

Quote:

Originally Posted by Thomas Smet

Back to the topic on hand here, how does the vertical chroma compare between the two cameras in 24f/24p mode?

We now know the HVX200 starts with only 540 vertical pixels that are pixel shifted to get HD resolutions. In theory the H1 also starts off it's 24f mode by only using one field of data worth 540 vertical pixels. I am curious if perhaps the Canon is doing the same thing as the HVX200 it it's 24f mode to go from 540 to 1080 pixels. If that is the case even with SDI there really isn't a true 4:2:2 going on since pixel shift usually helps luma and not chroma.

Tough one to call, but the H1 does more than one field in 24F. I believe it's an extremely good deinterlace/interpolation from 48hz.

When I do some SDI/greenscreen in the future I'll post some material to evaluate. I'll also post the HDV shot at the same time to compare it to. I do know that normal 1080i SDI output into DV100 is indeed 4.2.2.

We'll see if this 4.2.2 vs. 4.2.0 is just splitting hairs...and hairs can be the difference in a good chroma key.

Bill Pryor · February 28th, 2006, 10:38 AM

Jack---the strobing you see in the XL2 viewfinder is not on tape. That's a viewfinder problem. A friend of mine recently got an XL2, and when I was shooting some tests, that excessive strobing in the viewfinder was driving me nuts, but the tape looks fine.

Ash Greyson · February 28th, 2006, 01:18 PM

For the record there is no difference at all in the 24p from the DVX and the 24p from the XL2. Make sure you are comparing apples to apples, 24P to 2:3 and 24PA to 2:3:3:2

ash =o)

February 28th, 2006, 10:38 AM	#18
Bill Pryor Contributor Join Date: Jan 2003 Location: Kansas City, MO Posts: 4,449	Jack---the strobing you see in the XL2 viewfinder is not on tape. That's a viewfinder problem. A friend of mine recently got an XL2, and when I was shooting some tests, that excessive strobing in the viewfinder was driving me nuts, but the tape looks fine.

February 28th, 2006, 01:18 PM	#19
Ash Greyson Trustee Join Date: May 2003 Location: Tulsa, OK Posts: 1,689	For the record there is no difference at all in the 24p from the DVX and the 24p from the XL2. Make sure you are comparing apples to apples, 24P to 2:3 and 24PA to 2:3:3:2 ash =o)