trying to test a theory, can anyone help?

[Mike Barber]

For reasons I have already explained (to death) I am preparing myself to shoot some interviews on what will be a rented Sony Z1U for a documentary.

In doing some prep work to plan what my post workflow is going to look like, I asked posed the question about http://www.dvinfo.net/conf/high-defi...-hd-final.html, however no one seems to have an answer to my technical questions. Alas, I guess I will have to try and figure it out for myself.

I was wondering is anyone here could help me out. I am looking for some raw HDV footage of something like a talking head or some other simple stuff (15 to 20 seconds) in both 1080i60 and 1080i50. I can give you an FTP address to which you can upload the files.

I'm looking to test out the theory outlined in the linked thread. If anyone can help, that would be great!

Of course, if you have already played around with this and have some insight, or have a different workflow that is tested and true for the same result, I sure would love to hear it!

[Greg Laves]

Some folks would probably agree that not knowing the answer has never stopped me from venturing an opinion. But having said that, someone on here asked a similar question a while back and he was told that 50i cannot translate to 24p. If you search, you might be able to find it and get a more valid opinion. Good luck.

[Chris Soucy]

This could come across as total bollocks and a waste of your time, but have you considered using both DVinfo and whatever other avenues for communication as exist in Montreal to find a private owner of a camera which would suit your purpose better?

I've taken on board your funding problems, but how many private owners of cameras better suited to your task are there in your city?

Montreal cannot be totally devoid of video camera nuts with some pretty heavy fire power.

(Hey, I know it's French, but heck...........before anyone aims a kick, I'm FC myself, so watch it!)

You seem to be "hell bent" on extracting blood out of that Sony and it's offspring, whether it kills either you or it.

[At this point acknowledges total inability to follow the thread(s) in any meaningfull way whatsoever, as the reason for the "final solution" completely eludes me].

As I said, consider it for what it's worth.

A post in the "Helping Hands" section wouldn't kill you and some home town ads wouldn't hurt.

What I cannot understand is why, if you are as experienced as you say with top end gear, you have no contacts with the necessary camera(s) that can "go walkies" from whomever they work for, for a day or so?

(Did I say that? Nah, digital glitch.)

At the end of the day, maybe I simply cannot comprehend "your situation".

Accepted.

But why try to strangle your end result out of a camera that simply wasn't designed for the task your asking? (yeah, yeah, yeah .......I've read the posts).

An FC: Aus: UK: NZ take on this. can't get more international than that!


CS

[Robin Davies-Rollinson]

For talking heads, I would have thought that the 60i setting (or even the 24p) would be more than adequate. It's not as if you are shooting landscapes is it?

[Mike Barber]

Salut Chris,

Valid points. I wouldn't say I was hell bent on extracting blood from the Z1U, right now I just want to definitively test the theory to see how and if this was a viable option.

I've only been in Montreal for little over a year and my connections are mostly in the post production world or other independent filmmakers in the same boat as I. Those few I do know with the better cams (EX1 or HVX) are either asking too much $$$ (too much as in beyond my current budget's means) or unfortunately they can't be trusted/relied upon for favours.

What I am hell bent on is getting this doc made. The delay in shooting has already cost me the opportunity to interview the living authority on the subject (a severe decline in health since he initially agreed to participate is the issue).

Originally Posted by Chris Soucy

[At this point acknowledges total inability to follow the thread(s) in any meaningfull way whatsoever, as the reason for the "final solution" completely eludes me].

[...]

But why try to strangle your end result out of a camera that simply wasn't designed for the task your asking? (yeah, yeah, yeah .......I've read the posts).

I understand that it wasn't designed for the task -- I'm trying to see if it can somehow achieve the desired result in spite of that. Design and capability are not always mutually inclusive.

Look, I'm a just a guy that's struggling to make a doc the way he wants within his limited means. This idea of extracting 23.98 fps out of a Z1U is a theory worth at least testing. If it proves to be completely impossible or impractical, then I'll go on from there; but I do want to at least try it first (thought as a test shoot, not for an actual interview).

Nay saying and recommendations to use another camera are pointless and redudant. I already know there are much better (and personally prefered) tools for the job, but again it comes down to what tools of production are currently available to me. Of course, I'm always open to taking your money if you really wanted to send me some. ;-D

[Vito DeFilippo]

Hi Mike,

I have a Z1 and would be willing to shoot a quick test for a fellow Montrealer. Nothing pretty, but I'll sit in front of a light and say hello, how you doing, I am fine, in 60i and 50i, hehe...

What format output do you need? I usually use Avid Xpress Pro, but have a Macbook Pro with Final Cut on it as well.

By the way, the Z1 is a great camera and given proper lighting, gives a beautiful picture. The Mpeg2 compression should pose no trouble for you in an interview setting.

Cheers,
Vito

[Mike Barber]

Originally Posted by Vito DeFilippo

I have a Z1 and would be willing to shoot a quick test for a fellow Montrealer.

Awesome, thanks Vito! I have sent to an email with the specifics and FTP info. Merci beaucoup, mon ami!

[William Gardner]

I regularly shoot with my Z1U in 50i mode with the Cineframe 25p option, and then use Cineform to slow the 25p down to 23.976p for editing and DVD burning. This has never been a problem.

And, FYI, the Cineframe 25p mode is simply an in-camera deinterlacer. Other deinterlacers in post may be somewhat better, but if your final output is a DVD then Cineframe 25p works fine. Cineframe 24p is the oft-insulted mode which does strange field operations to generate 24p from 60i, can look strange, and is often avoided, but the 25p mode is fine and introduces no strange motion artifacts like the 24p mode does.

Cheers,
Bill

[Chris Barcellos]

This film was shot in the "oft maligned" Cineframe24, processed through Cineforms NeoHDV. Watch in HD version.

http://www.youtube.com/watch?v=xy6NXlA6T18