From: Brook Hinton (email suppressed)
Date: Wed Dec 26 2007 - 12:44:01 PST
24P via compressor in FCP Studio 2 works like a charm with HV20
footage, as does using the free JES Deinterlacer program if you are
using an earlier version of FCP or another program (though the program
has to support 24P to begin with).
The HV20 is the first sub-$2000 consumer video camera I haven't hated
since the TRV900, and I work with a lot of cameras all over the
spectrum. It's definitely the only HDV camera I can stand (once the
price gets up to the range of the higher end Sony and Canon stuff, I'd
rather skip HDV's temporal compression and move to the DVCProHD
stuff). The CMOS chip actually produces very organic feeling images
with real texture, though some of its peculiarities (like the rolling
shutter, which I actually love) make commercial video people a bit
leery.
There are things that absolutely suck about it: mostly the extra steps
needed for full manual control and the focus control mechanism. But
there's nothing else close to it in that price range or even a 2x that
price.
Brook
On 12/26/07, Sam Wells <email suppressed> wrote:
> > The 24p mode for the most part works really well and produces good-
> > looking results. If you want to edit on a 23.98 timeline, though,
> > it takes some fudging in the capture process to get it all worked
> > out. There are different techniques on the Mac and PC side of
> > things. Personally I work on a Mac, so my process involves
> > capturing as native HDV, then transcoding to ProRes 422 with
> > Compressor, which removes the pulldown and gives back the original
> > 24 frames. The downside to this is that ProRes takes up between 3
> > and 4 more times the space as HDV, so one tape ends up being about
> > 45gb rather than the usual 13gb for DV and HDV. Then again, storage
> > is pretty cheap these days.
> >
>
> This sounds like the technique Mike Most suggested on CML, here's how
> to do it as a batch process:
>
> "Another way to do this - a potentially easier one - is to use Apple
> Compressor, if you've upgraded to the Studio 2 version of the Final Cut
> suite. Compressor now has a "smart" reverse telecine function that will
> analyze the clip to determine pulldown cadence (much like After
> Effects) and
> then write a new 24p clip using whatever codec you want. It will
> resize as
> well, so, for instance, if you wanted to go from 60i HDV to 1920x1080
> ProRes
> in 24p, you could do it in one drag and drop step by making a
> "droplet" from
> Compressor that takes in HDV and spits out 24p ProRes. It's a nice
> way of
> doing it because you can do a batch process - capture a bunch of clips,
> lasso them all, and drop them on the droplet. Then walk away for
> about 15
> minutes. This method works quite well, the results are very clean,
> and it
> seems to get the cadence right every time."
>
> You can do it in After Effects as well.
>
> (I saved this as I had been thinking of getting one IF I could get a
> mod to remove the IR filter, no luck so far unless I want to "DIY" -
> which I'm not sure I'm up for, well I've got plenty of digital
> weirdness to work on currently......)
>
> -Sam
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
-- _______________________________________________________ Brook Hinton film/video/audio art www.brookhinton.com studio vlog/blog: www.brookhinton.com/temporalab __________________________________________________________________ For info on FrameWorks, contact Pip Chodorov at <email suppressed>.