24p and panning

T

theburghvid

New member
Been shooting a long time, but new to the DVX100A. I've noticed that there is a staccato effect when you pan the camera that is worse than panning with a 16mm film camera. Is there any way to lessen this effect?

Also, for those of you who've used the camera for a while, would you recommend 24p, 30p, or 60i for shooting dancers on stage? I think the dancers would look better in 24p, but again, worried about that staccato. It will all be done on sticks with 2 cameras. Thanks in advance for your input.
 
I think your staccato effect is formely known as strobing. I believe the key rule in preventing this is that when you are using 24p, make sure it takes at least 7 seconds for an object that has entered the screen, to leave the screen. This will ensure that you get smooth motion.

24p will obviously look the best, (in terms of that "filmish look") but if you panning very frequently from dancer to dancer, it may not be the way to go.
30p will not strobe as much as 24p, and 60i will not stobe at all. Its all preference really, but if you are planning on a film transfer, make sure you go with 24 p(A).

** also, there is not really a way to lessen the effect while in 24p mode, but if you are constantly focused on a dancer in 24p, even if she is moving all over the stage, only the background will be strobing. (have that staccato effect) I know this doesn't sound that great, but the thing is that you, and other's watching the recorded video, will most likely be focusing on the dancer rather than the stage background, and therefore, the average person would probably even notice the strobing. **
 
Also, for those of you who've used the camera for a while, would you recommend 24p, 30p, or 60i for shooting dancers on stage? I think the dancers would look better in 24p, but again, worried about that staccato. It will all be done on sticks with 2 cameras. Thanks in advance for your input.
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None of the above. 24pa if you have an nle with a 24p setting.
 
thanks/24 fps timeline

thanks/24 fps timeline

thanks for the feedback!

If I shoot 24pA, can I edit it on FCP version 3, which allows both capture and timelines at 24 fps? Or will the progressive scanning features not be compatible with this older version of FCP?

Thanks again in advance.
 
What John said: turn off OIS when your camera is on a tripod, or else your DVX will be working against you.
 
theburghvid said:
thanks for the feedback!

If I shoot 24pA, can I edit it on FCP version 3, which allows both capture and timelines at 24 fps? Or will the progressive scanning features not be compatible with this older version of FCP?

Thanks again in advance.
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I believe 24P timelines are only available in FCP 4.5 (HD) and Above, you could still shoot 24P (not advanced over 60i) and edit in FCP 3.
 
I wouldnt use 24pa if you are going to tv broadcast. Usually that setting is used if doing a filmout or staight to DVD for 24 frames. If you are shooting for a filmic look then I would go with 24p
 
tvacom said:
I wouldnt use 24pa if you are going to tv broadcast. Usually that setting is used if doing a filmout or staight to DVD for 24 frames. If you are shooting for a filmic look then I would go with 24p
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I beg to differ. There's nothing wrong with editing 24p as NATIVE 24p in an NLE and then adding pulldown during the render is there?
 
If you're shooting in 24P or 24P advanced, I would suggest that you select "Thin" as the shooting mode & to reduce the strobing/staggato, you might like to set the shutter speed to 1/24. This will slightly reduce the strobing, while giving a bit of amotion blur, which further adds to the "filmic" look you may be wanting to achieve. Yes, follow the moving subject with your camera. That way your subject will not be strobing, instead the background will strobe. But since most audiences' eyes are focussed on the moving subject, they will not notice the strobing background so much. So, you can get away with this.

Andrew
 
Tainted,
No problem adding the extra step in post but for what I do most post doesnt want another step. I work in Reality TV everyday with this camera and it is about getting footage in edited and getting it back out in a timely manner and everysecond counts when you are dealing with 1000's of hours of footage for a few shows. But you are correct/
d
 
Thanks all. This is going straight to DVD. I think for this one I'll use 30p- seems like a good compromise. Any issues with the progressive scanning on FCP 3?
 
tvacom said:
Tainted,
No problem adding the extra step in post but for what I do most post doesnt want another step. I work in Reality TV everyday with this camera and it is about getting footage in edited and getting it back out in a timely manner and everysecond counts when you are dealing with 1000's of hours of footage for a few shows. But you are correct/
d
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I'm actually sure you know way more about this than me, cause I'm a total newb, so I will yield for sure. But in the name of friendly debate <SMILE>, I'm wondering if shooting 24pa and editing in "true" 24p with a render out to 60i, actually is a FASTER workflow?

Here's my logic. The capture is exactly the same at 60i, just upon ingest a whole bunch of fields are discarded. Now, in your NLE you're working with a significantly smaller file and significantly less fields/frames than 60i. This is going to speed up the rendering of any effects, color correction, etc. Then on final render, there isn't really that much more "work" for the NLE to do, except to double-up a field here or there. It would be an entirely different story if the NLE was CONVERTING true 60i to 24p, but that's not what we're talking about here, we're just talking about removing and adding pulldown, which is a no-brainer performance-wise isn't it?

So, what it is about staying with 60i end-to-end really saves you much? (Now maybe I'm used to Vegas, which handles this with ease, but...). Anyway, I'm curious about this...
 
I wouldnt use 24pa if you are going to tv broadcast. Usually that setting is used if doing a filmout or staight to DVD for 24 frames. If you are shooting for a filmic look then I would go with 24p
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?????????????

I'm wondering if shooting 24pa and editing in "true" 24p with a render out to 60i, actually is a FASTER workflow?
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Wouldnt that just be the same as shooting 24p and editing on a 29.97 timeline?
 
Tainted said:
I beg to differ. There's nothing wrong with editing 24p as NATIVE 24p in an NLE and then adding pulldown during the render is there?
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If you want to edit on a 24 frame timeline, you should not use the standard 24p. I don't think it preserves all of the original frames to the extent that Advanced does. The regular 24p is designed for playing back on interlaced television, and for editing on a standard timeline.
 
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