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Tim Dashwood

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Everything posted by Tim Dashwood

  1. Yes. Clipwrap is the answer if you have recorded your files in m2t format instead of Quicktime format. Clipwrap simply encapsulates the mpeg stream into the Quicktime wrapper - just as FCP does. There is no generation loss as with the transcoding route of Mpegstreamclip. More details can be found here.
  2. For the background on the development of this app and the significance to JVC ProHD/FCP users click here. Here's the press release with the neatly described features. (I like the part where it says "ClipWrap speaks m2t.")
  3. JVC's ProHD flavour of HDV1 can only be played back on ProHD cameras (HD100 through 250) or JVC's BR-HD50U deck. If the footage had been recorded in DV mode then there wouldn't have been an issue playing back on the DV cameras or decks you mentioned.
  4. Two more thoughts that might help you with your decision: I shot a low-budget feature with the HD100/13x3.5 and we were in tight locations for 60% of the shoot. I don't think I could have done it without the 3.5mm wide end. See the extended trailer here: http://www.BullTheMovie.com As for your concern with short DoF.... using longer focal lengths and then moving the camera back does not shorten the DoF. Moving back cancels the significance of the longer focal length. The real effect is that the background is magnified and objects along the Z-axis are compressed. This gives a completely different look, but doesn't shorten the DoF. If you really want short DoF move your subjects CLOSER to the camera. Here's a tutorial I prepared on the subject.
  5. I agree with Walter on the 13x3.5. Not only is it the widest 1/3" lens available, but it is probably the highest quality lens. The max focal length is 45mm, which is still quite long on a 1/3" CCD.
  6. The basic difference between the 110E and the 110U is that the European model will shoot DV in 576i50 & 576p25 (PAL) and the USA model will shoot DV in 480i60, 480p24 2:3 pulldown and 480p24 2:3:3:2 pulldown. The only other difference is that the "U" model will have a 0%/7.5% setup level option for the analog output. The HDV modes and frame rates are identical in E and U models. I've attached a chart. ProHD_Recording_Formats.pdf
  7. There are ways to hide a bad pixel in post in most NLEs. The easiest concept is to export a still frame, load it into Photoshop and create a simple white dot on black matte. Then use that matte in your NLE with a slightly offset dupe of the source footage. The result should be that the 'hole' is filled with data from 1 or 2 pixels away. A friend of mine is working on writing a custom after effects plug-in that will clone and blend the surrounding pixels in order to disguise the bad pixel. I'm not sure how well it will work out. It sounds like the sound guy was sending you line level but you had your input switch set to mic level. That means the signal was way too hot and you overcompensated by bringing the recording level down on the camera. However, this means that the overmodulated signal is still overmodulated and distorted. Sound guys should always monitor what comes out of the camera, not their mixer.
  8. Hi Mike. Yes. You have the right idea. 24fps is the slowest frame rate available on this camera so there is no true way to undercrank in-camera the way you would on a film camera. Overcranking is possible at 30, 50 or 60fps (check other posts of mine for an explanation of this process.) I would suggest that you use a slow shutter to emulate the blurriness of undercranked footage. For example, use 1/12th shutter and shoot in 24P, then increase the speed of the clip by 200% in post production. This in essence will give you the look of 12fps undercrank. You could also try 1/6th shutter speed in 24P and then speed the clip by 400% in post for a 6fps undercrank. If you use a 24P timeline the math will work itself out nicely. Good luck.
  9. If you want interchangable lenses and slow motion, then the JVC ProHD cameras are really the only ones that fit the criteria in the under $6000 price range. For slow motion, the HD100 and HD110 can shoot overcranked 60fps in SD mode. The HD200 series can shoot overcranked 60fps in HD mode. You will need FCP 5.1.2 to capture 720P24 natively. You can work only with 720P30 in FCP v5.0, however there are third party ingest solutions that require a few extra steps (but you lose TC.) How fast is your Powerbook G4? I've successfully captured on the last version before the MAcbook Pros were released, but have not tested slower machines with native HDV ingest.
  10. We know that there will be a 720P60/50 update from Apple for FCP6 at some time, but no one knows exactly when. JVC and Apple did demonstrate the 'preview version' of FCP6 at NAB07 doing 720P60 HDV native ingest and playback. I played with it for a few minutes, but neglected to check for 720P50 support. In the meantime you can use try the Apple Intermediate Codec digitizer built into FCP. I'm not sure if it works the same way in FCP6, but in FCP5 you could simply choose "HDV-Apple Intermediate Codec" from the capture presets. This works with 720P60, but I do not know if it does with 720P50. The trade-off is that you are going to lose TC and any batch capture ability. The other option is to use DVHSCap or HDVxDV to capture m2t of 720P50 from tape, and then use MPEG StreamClip v1.8 to convert it to quicktime using AIC, ProRes422, HDV, etc.
  11. Hi Terry, Yes it is possible, and quite easy to do in telecine transfer. The telecine will automatically figure out the exact frame rate to match 29.97 with pulldown. I had to do this exact thing once on a short film. I shot with a Aaton XTR rented from LIFT in Toronto. The frame rate knob said 24, but was actually on 20. I learned the hard way that you have to press the display button to confirm speed on the LED readout. Anyway, we realized this about half way through the day. We knew we would never be doing a film print so we decided to go forward and just use the 20fps we had shot. It actually looks fine and no one except me ever noticed the lower frame rate.
  12. Your shots look good Mitch. And thank you for the acknowledgement. It is nice to know that people are getting use out of the info I post. A couple notes: Just to clarify, when you use "HDV-SD60" mode on a HD100 it isn't "60i" it is actually 60P (480P60). 60i is only 30 fps (29.97fps) and 60P is actually 60 fps (59.94fps.) This is why it is very difficult to use interlace footage for slow motion with 1080i systems without some field line doubling. The maximum frame rate on 1080i is 30fps. Rodriguez managed to do it somehow for Once Upon A Time in Mexico with 1080i60 footage shot on HDCAM. Maybe he used a piece of interpolation software to create in-between frames. If you need to do a similar thing with your 24P shot, you should look into the Twixtor plug-in for FCP or Shake. Also, (when you have the opportunity for more light in a scene) try to keep in mind the mechanics of film camera shutters and frame rate. A standard shutter is set to 180°, so normally 24fps = 1/48th of a second exposure. Increase that to 48fps, and the exposure time decreases to 1/96th of a second. 60fps = 1/120th of a second exposure and so on. This relationship maintains consistent motion blur on the edges no matter how much you overcrank. I can see from your samples that it you must have used a 1/60th shutter for the 60P material. I understand why, considering you needed as much exposure as possible in this situation, I just wanted to mention it.
  13. I just purchased a new 16OPF12-1 with a PL mount from Sergey on ebay. I'm very excited to check out this lens, especially after reading Olex's sharpness specs. I hope it doesn't get held up in customs.
  14. Thank you Olex. I just sent you an email.
  15. ...and also. What is the 16mm Kinor mount actually called? I'd like to find a PL conversion for it.
  16. Thanks for info. Do either of you know if the zoom crank can be easily removed?
  17. I saw this lens on the Raf Camera site and I'm curious what the geared hand crank is for? Focus or Zoom? http://rafcamera.com/10100mm-zoom-lens-16o...or16-p-457.html Has anyone here ever shot with a PL conversion of this lens?
  18. JVC has really gone above and beyond with the design of this new "super-encoder" for 720P60. Here's some 720P60 mpeg2 files from my PL Cine Lens Test. I was using a fairly high speed shutter because the intent was over-cranked slo-mo. http://www.timdashwood.com/.Public/dog.ts http://www.timdashwood.com/.Public/craig1.ts http://www.timdashwood.com/.Public/craig2.ts
  19. The adapter isn't available to purchase yet. The one I used was a protoype on display at HD House during Sundance. It said "No. 2" on it. I will be doing some in-depth testing on this prototype again soon. Compared to the Redrock the advantage is that the whole rig is much shorter. You don't use a zoom lens in macro mode as a relay. Instead the adapter attaches directly to the 1/3" bayonet mount. The advantage over all of the other 35mm cine lens adapters is that the HZ-CA13U doesn't use a ground glass, so there is very little light loss. The main difference is that the HZ-CA13U is designed to equal 16mm frame size instead of 35mm. This means that you will have to open up a couple extra stops to get the same short DOF at the equivalent FOV on 35mm. Personally I don't mind this. I'm used to working in 16mm so it isn't a huge adjustment for me.
  20. Yes it records to tape at 720P60. It uses the exact same bandwidth it always has (19.2Mbps) but the GOP is 12 frames long instead of 6. There will of course be some tradeoff, but it is very difficult to see the difference when the footage is running.
  21. It is very easy now. You can capture natively in FCP version 5.1.2. However... a word of warning: use the JVC ProHD tape and NEVER mix brands in the tape transport. You will want to avoid any possibility of a dropout or data loss when capturing natively. FCP is VERY sensitive to the slightest dropout when capturing HDV1 and will split the clip at the slightest hint of a hiccup in the stream. Keep a head cleaner cassette handy and run it after every 10 tapes or so. You can capture 480P60 on the HD100 or 720P60 with the HD200/250. Either way you will have to capture the 60P stream with a m2t capture utility and then transcode it into a Quicktime codec (uncompressed, AIC, motion-JPEG, blackmagic, etc.) 480P60 can be easily uprezzed to 720P60 with 'OK' results using Mpegstreamclip. Next, you will open the clip(s) with Cinema Tools and CONFORM them to the desired frame rate. This will create instant overcranked slow-motion quicktime clips that you can directly import into FCP. You should always use 23.98 (23.976) as a desired frame rate when working with 24P on video. Even film to tape teleciné transfers are done at 23.976. It is only advisable to work in true 24fps if you are doing a filmout and your DVD version will be retransferred from an intermeditae print or neg. This will give you an accurate runtime on film - but not on video. You can see a test I did a couple weeks ago using this method with the HD200. http://web.mac.com/timdashwood/iWeb/sundan...CA13U_Test.html I also have a step-by-step guide to overcranked slo-motion posted here.
  22. 24P normal and 24PA only exist when shooting in DV NTSC mode. You won't be given this option in HDV mode - just a frame rate choice of 24, 25 or 30. If you intend to do a filmout at some point shoot HDV-24P mode. In HDV mode these two separate types of pulldown aren't necessary because 720P60 records 60 progressive frames instead of splitting 24P across 60 fields like NTSC or 1080i. Therefore a standard 2:3 pulldown is used for 720P60, but you will never encounter a split-field pulldown frame. Most of the current NLEs are now capable of capturing 720P24 and ignoring the repeated pulldown frames, but not Avid Express Pro (as of Dec 2006.) You should explore other options. Avid has been promising full support of JVC's ProHD since NAB2005, but their band-aid solution seems to be the acquistion of Liquid.
  23. Someone suggested on another forum that it may be a F950 CCD block. From the placement of the VF mount and the cable clip, I'm thinking this is the most logical conclusion. http://www.telecast-fiber.com/jh/hkct950.jpg
  24. I've been trying to figure out what they shot this film on too. There were originally rumours of XL2 and now some new rumours of JVC HD100. However, I found a few production photos that would contradict that. http://imdb.com/gallery/ss/0479884/Ss/0479...ath_key=0479884 http://www.cinempire.com/multimedia/Crank/photos/33.html http://www.cinemablend.com/gallery/preview...9.html?tid=6657 Obviously that's an electronic viewfinder in that one photo, so that rules out the D20. The Viper can't be stripped down that much. I thought of the SI-1920, but have never seen it stripped to just the sensor block. I don't think it could possibly be the Genesis or Panavision would be promoting it in the AC ads. The one angle looks like an SR2 without a magazine or battery attached. I started to think they shot Super-16, which would explain the long DOF in most of those wider shots, but then I found out that the filmmakers announced at Comic-Con that they shot in HD. Maybe it was hybrid film/digital like Collateral. It is a real mystery with films that probably won't have articles written in A.C.
  25. Before I begin, it is important to remember that 24P in the world of NTSC video is always actually 23.976 (or 23.98 rounded off.) It is just easier to say 24P instead of 23.98P. Since you shot both 24P (2:3 pulldown) and 24PA (2:3:3:2 pulldown) you have two options available. One will ultimately be the best approach for frame accurate editing, the other will be the quickest way to get started. Option #1: Edit in 24P (23.98) sequences. Capturing and removing the pulldown is easy for the 24P advanced (2:3:3:2) material. Just capture your clips using the "DV NTSC 48 kHz Advanced (2:3:3:2) Pulldown removal preset. (see attached image #1.) After you have captured the 24PA clips, make sure they are checkmarked as "anamorphic" in the anamorphic column in the bin. If not, simply highlight all of the clips and right-click or CTRL-click to bring up a contextual menu and select "yes." (see attached image #2.) Capturing the 24P normal (2:3) clips requires the use of Cinema Tools to remove the pulldown and create new clips that are 24P. So set your capture preset to DV-NTSC in the Capture settings tab of "Log & Capture." (see image #3) Capture your clips normally. Your clips will still be 29.97fps NTSC after being captured, so you'll have to use Cinema Tools to remove the pulldown. If you have FCP 5.1, then select all of your 24P normal clips and then choose "Cinema Tools Reverse Telecine" from the Tools menu.(see attached image #4) If you don't have FCP5.1, move the 24P normal files to their own folder from the Capture Scratch, then just launch Cinema Tools, select "Batch Reverse Telecine" from the file menu, choose 23.98 as the frame rate, and direct CT to the files that need the pulldown removed. You will have an option to make duplicates or delete the originals. I suggest deleting the originals. CT will now reverse the telecine on all of the clips and put them into a new folder inside their old folder. Just drag this folder into FCP and you are ready to start editing in 24P (23.98P) You will want to double check that all of your clips are actually 23.98fps in the "Vid Rate" column in the bin. Also double check that they are all checked at "Anamorphic" in the anamorphic column. Now on to create a new sequence. Make sure "Prompt for settings on new sequence" is checkmarked in your User settings. (see image #5) Hit CMD+N to create a new sequence and you should be asked what type you want to create. Select DV NTSC 48 kHz - 23.98 (NOT 24!!!) (see attached image #6) Your new sequence will be created and should be automatically selected. Go to "Sequence Settings" by hittin CMD+Zero or selecting it from the Settings menu. Now just checkmark the "anamorphic" option, confirm that the frame rate is set to 23.98 and you are ready to start editing in 24P! (see image #7.) Option #2 You could edit everything as standard NTSC at 29.97fps, which would be less work on the front, but the 24P advanced material (2:3:3:2) may not look as smooth as the 24P normal (2:3). Simply go to the "Final Cut Pro" menu, select "Easy Setup" and choose "DV-NTSC." Click "Setup." (See image #8) Everything will now default to standard NTSC. The only thing different that you will have to do is to set all clips and the sequence to "anamorphic" before you begin editing clips into the sequence. The advantage here is that you can add material that you can add 60i material to your sequence with ease. There will be no rendering needed if your sequence frame rate, codec, dimension (including anamorphic flag) match your source clips. If there are any mis-matches between sequence and clip you will know as soon as it is edited in. The render bar will turn red. The user manual is available at any time via the "Help" menu in FCP. It is a pdf and should automatically open with "Preview" so you can do quick searches.
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