intercutting HVX & Canon XL-H1 (+35mm adapter)

B

Benton

Well-known member
so I have an opportunity to do a shoot with an HVX and a Canon XL-H1 (that I use an XL specific 35mm adapter with --LetusXLflip )
Assuming I can match the color resonably well, (4:2:0 v. 4:2:2)
anyone know how well the footage will cut together given the different resolutions?
Should I shoot 1080 on the HVX or 720?
Any advice?


John

http://www.bentonjohn.com
 
I would shoot the same resolution on both camera, and then I would color correct the HVX footage to match the XL-h1. You probably should use cine D on the HVX.
 
I am super anamored of the HVX color
I am more tempted to match the Canon to that. Why do you say Cine D?

I was also hoping to use the variable frame rates on the HVX...which means 720 but then it's kinda a pain, no?
Will I have trouble mixing the 1080 24p DvcProHD with the 1080 24p HDV in a final cut timeline?

Thanks for your help,
J

http://www.bentonjohn.com
 
Benton said:
I am super anamored of the HVX color
I am more tempted to match the Canon to that. Why do you say Cine D?

I was also hoping to use the variable frame rates on the HVX...which means 720 but then it's kinda a pain, no?
Will I have trouble mixing the 1080 24p DvcProHD with the 1080 24p HDV in a final cut timeline?

Thanks for your help,
J

http://www.bentonjohn.com
Click to expand...

The XL H1 doesn't do 24p it does 24f, that's faux progressive and it doesn't look anything like the 24p option on the HVX or DVX.
 
Well, it imports into Final Cut as 1080 24p HDV
(and it looks pretty good)
Do you really think that the movement and motion look will be noticable between the different footage?
I was thinking more about color and resolution



http://www.bentonjohn.com
 
24fps is 24fps

24fps is 24fps

pablovi said:
The XL H1 doesn't do 24p it does 24f, that's faux progressive and it doesn't look anything like the 24p option on the HVX or DVX.
Click to expand...

...and I'd have to disagree with you.

I think they look very similar. In fact, if the minute difference in motion appearance is that big of a deal to you, then maybe you should reconsider the content of your film -- the audience shouldn't be spotting out technical continuity errors.

Trust me, the average viewer will not be able to tell the difference. I'm going to go as far out on a limb to say that you wouldn't be able to tell the difference yourself had you not known the footage from the two cameras were intercut. In the bigger picture, the 24F vs. 24P argument is rather insignificant.
 
ZVF, I agree with you,

I wish I could combine the cameras to get the Clean Resolution of the Canon (even it's noise is quite beautiful)
With the Insanely beautiful Color of the HVX.
(I can also use the Panny on my glidecam, wheras the Canon is slightly too heavy)


J

http://www.bentonjohn.com
 
There is an easy solution to combining the footage on a FCP timeline and that is to capture the XL-H1 footage via a kona card. You can capture it as DVCProHD at the same resolution as your P2 footage (if you want to shoot 720p for variable frame rate).
In fact the "watchmaker series" that Canon use for their XL-H1 demos across the country was captured directly from the HD SDI out port of the camera, to an NLE using the DVCProHD codec.
So in actual fact that material didn't even enter the HDV world!
If you will be working on a controlled set then this may be the best method, if you can have a NLE set up on set. If not just take the HDV tapes and still capture via a kona card.
 
Thank You Ozduc...
Yeah, If I had a Desktop & Kona...
But alas,
They will be catured via HDV tape and P2 so there isn't much I can do
(waiting for a laptop to be able to take a Black Magic/ Kona card to stream in HD-SDI via Cineform or Sheer)
Do you think captuing & then combining 2 different formats is going to be problematic?
Thanks

http://www.bentonjohn.com
 
Benton said:
Do you think captuing & then combining 2 different formats is going to be problematic?
Thanks

http://www.bentonjohn.com
Click to expand...

That will depend on the NLE you are using. I'm not familiar with PC NLE's but I know in FCP you would have to render either one or the other to get them to play together on the same timeline. Once you've got the footage shot on the XL-H1, why not just rent a system with a kona card for a day, to do your captures. I'm sure there are plenty of freelance editors with such a system that would cut you a deal. it would save a lot of headaches in the long run.
 
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