bigshinyspoon
Active member
i have my new dvx100b and i want to achive the best 24pa film motion . what are the settings i need to adjust on my camcorder to have the best film motion. like the f settings ....
thank
thank
best 24pa settings
- Thread starter bigshinyspoon
- Start date
The f settings have to do with the iris, and won't affect motion nearly as much as they will affect focus.
The shutter speed will affect motion, and to emulate the 180-degree shutter of most film cameras, you'd want to set the shutter to "Off" -- where "Off" actually means a shutter speed of 1/50, which is close enough to 1/48, which is the electronic equivalent of a 180-degree shutter.
Or, you can use the Syncro-Scan setting to get to 1/48 if you want.
After that, it's all about moving the camera cinematically. Slow pans, tilts, zooms. Treat it like it's a big, heavy Panavision camera.
The shutter speed will affect motion, and to emulate the 180-degree shutter of most film cameras, you'd want to set the shutter to "Off" -- where "Off" actually means a shutter speed of 1/50, which is close enough to 1/48, which is the electronic equivalent of a 180-degree shutter.
Or, you can use the Syncro-Scan setting to get to 1/48 if you want.
After that, it's all about moving the camera cinematically. Slow pans, tilts, zooms. Treat it like it's a big, heavy Panavision camera.
bigshinyspoon
Active member
so if i want the more film look .i need to shoot in24p or 24pa?
HorseFilms
Look ma no hands
bigshinyspoon said:
They'll both give a film look. Shoot 24pA if you plan on editing on a 24p timeline. Shoot 24p if you plan on editing on a 60i timeline.
They are exactly the same except for how they're arranged to fit into a 60i stream. Horse has the ticket.
Mcph55
Active member
Horse - i shot some 30p to do some slow mo, the 30p footage will be edited on a 24p timeline with more 24p (normal) footage... now when i edit my 24p footage it looks all fine until i put it into the timeline, then i have to render it and then all the motion trails and it looks blurry... is that because i have to edit 24p (normal) in a reg dv-ntsc timeline?HorseFilms said:
if so how would i edit both in one timeline?
using dvx100b and FCP 5
thanks
- Cody
In FCP, you need to remove the pulldown of the 24p standard footage before you can edit it in 24p. You do this with Cinema Tools. Otherwise, when FCP rerenders it to fit the timeline, it's deinterlacing and resampling and doing all sorts of things to it that will make 24p material look terrible (as you've seen). With 24p material, pulldown removal is the only way to go.
You really don't want to edit 30p in a 24p timeline -- unless and ONLY unless you slow it down to 80%.
You really don't want to edit 30p in a 24p timeline -- unless and ONLY unless you slow it down to 80%.
Mcph55
Active member
ok well, when i set the timeline settings to anamorphic (because that is what i am shooting with) so it would be 23.98 anamorphic, everything looks fine in the timeline the clips in 24p play just like they do in the clip viewer. they also play fine in dv-ntsc anamorphic
because it was my understanding that you can put 24p (normal) into a regular dv-ntsc timeline with out having to do the pulldown, and you only do the pulldown when you do 24pa....
and you say 80% and only 80 when editing 30p in 24p timeline... why is that? i shot for 75% and i am editing 30p in a 24p timeline, form what i can tell it looks fine...
Thanks,
-Cody
because it was my understanding that you can put 24p (normal) into a regular dv-ntsc timeline with out having to do the pulldown, and you only do the pulldown when you do 24pa....
and you say 80% and only 80 when editing 30p in 24p timeline... why is that? i shot for 75% and i am editing 30p in a 24p timeline, form what i can tell it looks fine...
Thanks,
-Cody
Mcph55 said:
This is basically correct -- you can edit either 24p or 24pA material in an NTSC timeline, because it's recorded to tape as NTSC-compliant 29.97.
The difference is that FCP can remove 24pA pulldown on the fily while it captures, but it can't remove standard pulldown. You have to go to Cinema Tools for that.
If it looks fine, it looks fine -- but I say 80% because 24 is 80% of 30, and if you slow 30p down to 80%, you're lining up each 30p frame with a 24p frame on the timeline, and you will achieve the best results when it's resampled to 24p. It should be a one-for-one resampling -- each 30p frame becomes a 24p frame. Less to go wrong.
Mcph55
Active member
oh ok i get it... but what is the difference between standard pulldown and pull down...... i know that i can play back regular 24p footage in a ntsc timeline or 23.98 timeline but what would removing pulldown (in cinema tools) out of the "regular" 24p footage do, if you even can take that pulldown out?
- COdy
Ps. since i already shot for 75% i think i will just edit my 30p slow mo stuff in reg dv-ntsc timeline along with my 24p regular footage..
- COdy
Ps. since i already shot for 75% i think i will just edit my 30p slow mo stuff in reg dv-ntsc timeline along with my 24p regular footage..
Everything is recorded to tape as 60i -- NTSC is made up of 60 fields per second, which are half-frames.
Pulldown is inserted in order to take the 24 progressive frames and record them in a 60-field NTSC stream. Removing the pulldown restores the original 24p frames. This is not the same as deinterlacing -- you don't want to deinterlace 24p footage.
Like I said, FCP itself cannot remove the standard pulldown. You have to do it in Cinema Tools.
Advanced pulldown is a more efficient method of arranging the 24p frames in the NTSC stream, designed for easy removal. FCP can remove it automatically.
Pulldown is inserted in order to take the 24 progressive frames and record them in a 60-field NTSC stream. Removing the pulldown restores the original 24p frames. This is not the same as deinterlacing -- you don't want to deinterlace 24p footage.
Like I said, FCP itself cannot remove the standard pulldown. You have to do it in Cinema Tools.
Advanced pulldown is a more efficient method of arranging the 24p frames in the NTSC stream, designed for easy removal. FCP can remove it automatically.
I shot 24PA ( squeeze)F6 for a project but opened it and rendered my greenscreen using reg NTSC not anamorphic which produced black bars and when I try to upscale to fit widescreen it looks horrible, but looks great in letterbox mode...how can I get it back to squeeze w/o affecting quality.
You can't. At least not without outside software or plugins.
You already lost the quality when you rendered to 4:3. If you want the quality of the original, you need to go back to the original.
You already lost the quality when you rendered to 4:3. If you want the quality of the original, you need to go back to the original.
Mcph55
Active member
ok i understand, so what do you suggest i do? can i leave the 24p (reg) footage the way it is without fiddling woth cinema tools? will it really make a big difference?
I think i will just edit both 30p and 24p in a regular dv-ntsc anamophic timeline, i should still get that film look right (from the 24p even with out removing the standard pulldown)
Thanks so much for your help
I think i will just edit both 30p and 24p in a regular dv-ntsc anamophic timeline, i should still get that film look right (from the 24p even with out removing the standard pulldown)
Thanks so much for your help
Mcph55 said:
Yes. It will still have the aesthetic of 24p.
No. No 24p timeline in FCE.
But you can edit the 24p material in an NTSC timeline. Just shoot 24p standard.
But you can edit the 24p material in an NTSC timeline. Just shoot 24p standard.
Mcph55 said:
When you remove pulldown, you get rid of all interlaced frames.
It's generally better to work in a progressive environment.
What if you shot 24PA and want to so some slo-mo stuff. slo-mo stuff was shot at 60i with high shutter speeds. how will that 60i footage mesh with the 24PA footage on a 23.98 timeline if it's slowed down to 60%? Is there an optimal speed (%) it should be slowed down to?
Thanks
Thanks