mospeaker

Hi,

 

I assume you've tried cleaning heads, playing it back on other decks, particularly DVCPRO decks which tend to have very fast/wide tracking.

 

The only other thing you could try to do would be capture it as 30i, so it isn't worrying about trying to unwrap the 3:2 pulldown (thus removing a reason for it to fail). Then, capture it several times in a row, and you might get lucky enough for it to give you all the parts of every frame at some point, which you could then comp back together.

 

Of course, this could end up being gigantically labour-intensive, but it depends how much material there is, how bad the artifacting is, and what it means to you.

 

Phil

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i have tried all of the above except using a DVCPRO deck. good advice, it's worth a try.

thing that scares me is that no matter what deck i playback on so far, the errors are very consistant.

footage shot recently in 24PA upon playback tape contains many errors.

audio drops out intermittently (not a big problem as audio was recorded seperately as well)

video is "jumpy" and tiling occurs often. also little squares of static pop up all over image from time to time.

is there any chance of salvaging this tape? any programs or methods that can restore the information?

will not even capture into final cut...returns error "capture aborted due to a break in cadence in the VFR/Pulldown in the source stream" when capturing using pulldown removal. will sometimes capture ok without pulldown removal but of course video is still damaged.

any ideas? right now i'm looking at an $800-1000 re-shoot.

also, any ideas about the culprit/cause of this problem? second tape worked fine, no errors.

i suspect tape number one was subjected to high heat or moisture. only other possibility is it was a defect from the factory. anyone ever tried to send a tape back to panasonic for recovery? can you do such a thing?

i'm looking for any and all input.

It's just a risk you have to take -- you can't control all digital projection screenings. Some will zoom the letterboxed image for you to fill the screen, some won't.  You'd have to be there before the screening to supervise.

 

You could also consider converting the letterboxed image to a 16x9 anamorphic recording in post.  Still doesn't guarantee that it won't end up letterboxed on the screen though.

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yep, i was afraid that the realistic answer is that ultimately, especially for a short, i will not have much control over it regardless.

so i think i'm gonna use the lenses i want, get the look i want, worry about the acting, then put it in a an envelope, mail it and pray to the independent film Gods that it looks as good as it can when people see it.

if only the independent film Gods financed films...

thanks david!

shooting a short film for submission to festivals, here's the concern:

film festivals notoriously and unfortunately use cheap video projectors especially for shorts programs.

if i shoot 4:3 and crop will the projectionist fill the screen with my image or will it look like a small rectangle with a black border? (an example would be watching and HD TV channel on a 16:9 TV when something is shown as cropped 4:3)

i'm not too keen on the anamorphic adapter since i've heard it can end up a little soft, plus i kinda want the option of using the wide angle and telephoto adapters.

however, i want it to look good, and certainly don't want the black border effect.

please weigh in!

trying to find a decent wide angle adapter for the dvx-100a. i know that panasonic/B&H etc sells the AG-LW7208G .8x for around $450. are there other cheaper aftermarket brands out there that will work with the dvx-100a?

follow-up: the camera's fixed lense is supposedly a "wide-angle" lense. so how much of a difference does the .8x make, and is there a noticeable difference between .8x and .6x? at what width measurement do you generally start to see distortion?

thanks!