Debate between student and lecturer

Let me get this straight . . .

This guy is an instructor for a university-level film class, and he's telling you what you should shoot because a couple of guys at a camera shop told him?

Get your money back.
 
I think I understand where he thinks deinterlaced 60i looks smoother: Deinterlaced 60i would come close to what you get in 30p. If you want to show him the difference between interlaced and progressive in realtime, whitout having to go with the 24p footage to a computer and strip down the redundant frames from the 60i stream, show him a 30p clip vs a 60i deinterlaced clip.

In other words, I've actually met very similar people like your teacher in the Lecturing business. They are there because they can TALK, so there's no point in verbal debate. Show them either a 60i deinterlaced image vs a 30P images to see the clear advantages of Progressive pictures, or Go to a computer with a 1080 24p clip (that is playing on a timeline with advanced pulldown) and compare it to Interlaced 1080i deinterlaced pictures.

Make sure, however, to watch your pan and tilts. Like everyone said, 24p is the film standard, and the people shooting 24p are well aware of the limitations for quick pans and tilts.
 
RJB said:
thanks for all the info guys, i will print this off and show him tommorow i am sure it wont make a differnece tho
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A brave man... who wants to be right than get a better grade... way to go....

Al MacLeod said:
Those that can...do...those that can't...teach.
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Reminds me of my second college try... actually went to USC then had to work for a few years... then went back to a local JC because... I wanted to be a filmmaker not a manager of a super market...

So during that time I started PA'ing on a few films that an old school chum was working on... the newest teacher didn't like me because I was drilling him with so many questions he couldn't answer... I guess I made him look bad... because he had just finished his masters.. and was now teaching...
 
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Al MacLeod said:
Those that can...do...those that can't...teach.
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A hideous insult to great teachers everywhere.

Just because this particular guy is a world-class moron is no reason to imply that no teachers can "do." And, besides, a teacher's job is to teach, not necessarily to "do". There are plenty of people out there who can do something and can't teach it to save their lives.

So let's keep it specific, please. This particular teacher is clearly clueless, but that is no justification to slander all teachers.
 
I could be wrong about this so forgive my ignorance if I'm talking bull****.

Here in the UK there is a TV drama series on called Heartbeat. I saw them shooting it a couple of years ago and they were using Sony Digibeta cameras which can shoot progressive.

When the show goes out it has a filmic look about it, very clean and I have to say looks great. However, something makes me think that the acquisition is done interlaced and converted or effected later.

I don't know what makes me think this, maybe I have had a conversation with someone from the production company in the past. One of the first episodes of last years series (Heartbeat has been going for 15 years) was transmitted interlaced and looked awful. I don't know if it was a mistake or an experiment but the rest of the run was shown with the filmic look.

Now. I was wondering if there was a technical reason why they would shoot interlaced. Maybe it's the camera's native mode and so the best images are recorded in interlaced mode and then a filmic look added later.

As I said, I'm not entirely sure they do shoot interlaced but it does make me wonder if it is better to shoot natively and add effects after. Is your end image better by doing so?

What is the real native mode of the HVX, progressive or interlaced?


Weenie
 
Deaniweenie said:
What is the real native mode of the HVX, progressive or interlaced?
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The HVX only ever shoots progressive. It can simulate interlaced by shooting 60P and dividing the progressive frames into interlaced fields internally, but all imagery is originally captured as progressive.
 
Barry_Green said:
A hideous insult to great teachers everywhere.

Just because this particular guy is a world-class moron is no reason to imply that no teachers can "do." And, besides, a teacher's job is to teach, not necessarily to "do". There are plenty of people out there who can do something and can't teach it to save their lives.

So let's keep it specific, please. This particular teacher is clearly clueless, but that is no justification to slander all teachers.
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Barry, don't be so sensitive...it's like physicians...what do you call a person that graduated dead last in his medical class? Doctor!

Being a "teacher" doesn't mean much if all you pass to your students is misinformation!

My post was not a blanket indictment...just as "all apples are not rotten" does not mean there are no rotten apples.
 
I dont know how debating this issue will affect my grade at all could you explain???

His answear to this issue was that he has spoken to industry proffesionals that always shoot interlaced, and the people on the internet could be anybodies and would not supply correct informatin.

We do have some good lecturers tho,

thanks
 
Hi,

I am a somebody. I am the product manager for the HVX200, the HPX500, and the soon to be released HPX170 cameras. I have been in the industry for now 34 years. I have been with Panasonic since 1987.

Progressive recording is more appropriate for film work than interlace. It may well be that the people that he talked with tried 24P and found that it stuttered to much. Or they didn't figure out how to remove the pulldown properly. Point is, progressive is more akin to film capture and will net the better result. Fact!!!!!!

What was done up until the DVX100 introduction was that they did shoot interlaced PAL and then deinterlaced that. That was up till 2002. After the DVX100 was introduced the world of indy movie making changed. People started to use the progressive capture and work in 24P timelines, or for the PAL folks 25P timelines. This is more like a frame for frame relationship with film. Have your instructor join the conversation here, or you can PM me and I will giveyou my phone number for your faculty member to call. I have a lot of experience in explaining this one.

Hope this helps,

Jan
 
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Thank you very much i will speak to him tomorrow, and let him know and if i need more info will contact you,
 
Al MacLeod said:
My post was not a blanket indictment...just as "all apples are not rotten" does not mean there are no rotten apples.
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I think your mixing metaphors here.

As to a "blanket indictment," it sure seemed like one.

Barry Green, for example "teaches' by way of his DVD, and what is provided here.

He teaches and he does. Others as well.

The point for me is that some teachers don't know what they are talking about. Others do
 
I never saw a metaphor I could't mix ! (Yogi Berra was a great man)





David S. said:
I think your mixing metaphors here.

As to a "blanket indictment," it sure seemed like one.

Barry Green, for example "teaches' by way of his DVD, and what is provided here.

He teaches and he does. Others as well.

The point for me is that some teachers don't know what they are talking about. Others do
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So during that time I started PA'ing on a few films that an old school chum was working on... the newest teacher didn't like me because I was drilling him with so many questions he couldn't answer... I guess I made him look bad... because he had just finished his masters.. and was now teaching...

I don't know where you went to school, but the quote above is not an uncommon scenario.
 
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Missing INFO... Please confirm.

Are you using an HVX?

If you were using a Sony FX1 I would also suggest 60i over pseudo 24p.
 
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