The V1U is functionally useless for 24P movie production, correct?

[Charlie Jackson]

Originally Posted by Chris Hurd

I can imagine a lot of people buying this camcorder who have no intention of ever shooting 24P with it.

Yes, I'm getting one, but the 24P is not something I have a need for. I'm getting it for the increased zoom and for the Super Slow Motion, or whatever it's called, that will be great for some sports stuff I'll be doing.

I already have a Z1U, so now I will also be able to do multi-camera shoots with both cameras set the same.

[C.S. Michael]

So V1 24p cannot be edited in Premiere Pro? Or is it possible to edit with PP and CineForm?

Sorry, I'm confused, and I do think the question is relevant even on a non-shipping product, simply because we can pre-order now. I'm keen to get a V1 . . . but I want to be able to edit my footage.

[Heath McKnight]

If you can edit 60i, I'm 99% sure you can edit 24p. It has a pulldown that makes it go to 60i for ease of editing, much like the DVX100 series.

heath

[Greg Quinn]

Originally Posted by C.S. Michael

... I do think the question is relevant even on a non-shipping product, simply because we can pre-order now. I'm keen to get a V1 . . . but I want to be able to edit my footage.

Thanks, I'm glad that I'm not the only one who thinks it's relevant since I want to pre-order one of these but it's no use to me unless FCP supports it. I got jumped on in this forum because I dared to suggest that the cam won't be much use to a large section of people who need it for 24P production unless popular NLE's supports it.

[Heath McKnight]

I don't think you understand...you CAN edit the footage in pretty much ALL non-linear edit systems. It's 24p/30p with a pulldown and placed into a 60i stream, like the DVX100 series of cameras, and others, too.

When the camera ships, I won't be surprised that the NLEs will have pulldown removal for this camera.

heath

[Alex Huppenthal]

24p may be an emerging standard, and this camera should support it from everthing I've read.

Have you ever noticed that a movie on DVD looks better than °any* video on DVD? It appears that way to me.

I'm supposing that DVD production from 24p will likely change that.

[Douglas Spotted Eagle]

Originally Posted by Alex Huppenthal

24p may be an emerging standard, and this camera should support it from everthing I've read.

Have you ever noticed that a movie on DVD looks better than °any* video on DVD? It appears that way to me.

I'm supposing that DVD production from 24p will likely change that.

*most* commercial DVDs are content-acquired from a film source or other exceptionally high resolution source; this is the reason that DVDs look better, not because of 24p.

24p is a great feature, for independent film users and a few other uses. But 24p as a "general" feature is responsible for a lot of very bad video, simply because a lot of users don't understand how film is to be shot.

For example, I have exceptionally limited experience with film, having shot 16mm as part of a film class in a previous eon. I have a lot of 24p experience, but not enough that I'd consider myself able and ready to produce a film using 35mm film cams at very high costs of production. I've screwed up more 24p than I've ever delivered as part of my learning curve. Now I'm adequate for our clients, but there are much better shooters than I am in this framerate. Fortunately, not many of our clients ask for 24p, even the few car commercials we do.

Take a guy that shoots mostly film and/or 24p like Charles Papert and other full-time cam ops, and you can hand them a DVX and they'll make it look like 35mm not because of the framerate, but because they simply have cam-op chops that are part and parcel of their daily bread. In other words, 24p isn't responsible for the great DVD look, it's the cam-op, lighting, resolution, camera angles, experience etc that make the difference. Making video appear like film is an art, not a science or technology. It's more than color correction/processing tools like Celluloid, Magic Bullet, etc. These tools go a long way to getting there, but it's so much more about the technique of filmmaking rather than the tools used.

Having 24p available to the masses hasn't improved the art of filmmaking over the past 4 years, and having it for HDV won't change it in the next 4 years. It just means more people are shooting 24p, but not better video or film-like video.

Re-reading this, I realize I've said it very badly; but I am too lazy to re-explain. Hopefully you'll cut me some slack; it was a long flight home today. :-)

[Heath McKnight]

Welcome back, Spot! I have to agree with you 100%, and as you know, you and I always argue that 24p is just one part of a film look. There's so much that goes into it.

heath

[Alex Huppenthal]

Indeed, the technical capability of the camera is only one part of the process of delivering a moving image to your audience that pleases them.

My hope is that 24p out of the V1 will be useful for movie production. If it is delivered with interlacing at the wrong place in the capture/processing, it would be pretty much the same set of obstacles to film printing as 60i has today. Its as much fun as a bag of cats. If you like that sort of thing, or are a cat wrangler, best wishes. I'm not. :-)

I'm betting the 24p looks like real images. you know, just like a 60i camera does when its filming a still image in a studio. Looks great, right out of the can.

[Heath McKnight]

The V1 footage, when properly lit and shot and in 24p looks like film to me.

heath

[David Ziegelheim]

The V1 has the option of low cost HDMI output: 1440x1080, 4:2:2. For an production that is using real equipment--lights, grip, etc.--the cost of a higher quality capture is lower than any alternative. That should be an independent film advantage.