24p with the Z1

[Landon D. Parks]

If one was to get the Z1 camera, would you suggest using the In-Camera 24p mode or getting external software to convert 60i to 24p?

 

I have heard the software does'nt produce as good of results as what most "In Camera 24p" recording does, but from what I read about this camera 24p option, its not suggested.

 

What is one to do?

 

Thanks,

Landon

[David Cox]

If you were to convert 60i to 24P outside of a camera head, then you will introduce softness because only one of the fields can be taken to create one of the frames. If you take both fields, then the movement that could exist in a shot between the two fields could cause artifacts (jaggies). Also, going from 60 movements per second to 24, *might* show some strange motion issues.

 

I suppose you could shoot with the european version of this camera at a true 25P. Your film print would then be 4% slower. I guess it would be a matter of taste which route would be most satisfying to view.

 

Its a shame Sony opted not to support 24P with this camera.

[Landon D. Parks]

Is this the same way with the dvfilm DeInterlacer. It says it does not soften the image and that it will be just as sharp as the camera origional.

 

Maybe due to the fact that its not a plug in, but a stand alone program. It said on the site that certain plus in's can loos 50% resolution, where as theres don't...

 

Has anyone got any experiance with this software?

[David Mullen ASC]

The camera does not capture true progressive anything, not 25P either. The advantage of the 50i version is just that it creates a 25P look from a 50i capture with no 3:2 pulldown involved, but you're not getting as much vertical resolution as if the camera really did capture at 25P/1080, versus create a 25P look (or 25F as they call it) from 50i/1080, which is what the 50i camera does.

 

As for whether the camera does a better job of this conversion from interlaced capture compared to a post solution, you'd have to test to find out.

[Elhanan Matos]

Funny someone brought this up today. Earlier today the project manager for the HVR-Z1 came by today to talk to us about the Z1, and he brought up something pretty interesting; when your shooting with the Z1 and your using cineframe 24 or 30 you don't have any control over the shutter, but when you're shooting in 50i with cineframe 25 you do have some control over the shutter, which will let you smooth out the stutterieness (is that a word?) that you get with cineframe 24.

[werner schumann]

A fellow wrote:

 

Does anyone regularly shoot PAL with the Z1 in an NTSC country? I am about to do several days of shooting in PAL mode here in the U.S. for a client living in Europe. And I just read an article about some potential flickering problems when shooting PAL in the U.S. using tungsten light. Also, how about fluorescents? Any thoughts on that?

 

 

<<Because shooting in Region 60 mode in a region 50 country ? and vice versa ? yields a 10Hz beat flicker from artificial light, the solution is to remember to use 1/60 or 1/100 shutter speed as appropriate. Sony, since the days of Hi8 Handycam, has offered a Flicker Filter that attenuates the 10Hz beat.>>

 

Do you have any practical solution considering shooting with z1

 

Thanks,

Werner

[Bob Hayes]

Boy, am I confused. My Z1U says it doesn?t shoot ?true? 24P or ?30P?. What does it shoot? Also if I can?t adjust the shutter in ?30p? mode what is the difference between 30P mode and 30th of a second shutter speed?

[Phil Rhodes]

Hi,

 

I've had a quick look at an FX1 in "cineframe" mode and it clearly isn't real 24/25p - not that we've ever suspected otherwise.

 

What I'd do would be to shoot it straight in 50i, and then deinterlace in post. This would work well if you were going for an SD result as the downsample would then hide the softness, but if you really need progressive scan true HD, then the FX1 isn't going to be your panacea.

 

Clearly, this is why the HVX-200 is awaited with such baited breath.

 

Phil