Hi i`m new to forum and kinda new to video recording. I was given a dvx 100A by a friend in return for some recording studio time. i own my a recording studio. my question is, i am going to shoot my first music video and was wondering what format should i shoot it in. 60i,30p or 24p? i want the film look and the final will be going to dvd and web.
dvx 100A question
- Thread starter bigmajik
- Start date
Welcome! And congrats on getting a DVX!
Since the final is going to DVD and Web, then one of the progressive modes is your best bet. As for which one, 30P will not give you the film-look. But there are two flavors of 24P, and which one you use really depends on what editing software you have at your disposal. So what will you be using to edit?
Since the final is going to DVD and Web, then one of the progressive modes is your best bet. As for which one, 30P will not give you the film-look. But there are two flavors of 24P, and which one you use really depends on what editing software you have at your disposal. So what will you be using to edit?
j1clark@ucsd.edu
Veteran
I'd recommend two things for 'web'. Learn about 'squeeze' mode, and shooting in 16:9 format. The second, use the 'p' modes for any shooting, since for the web, full (p=progressive=full frame) frame mode captures all 480 TV scan lines at the 'same instant', where as the 'i' mode, that is interlaced, means for computer/web display there will be artifacts, especially in 'moving', either camera or objects in the frame, that are introduced by the interlaced mode.
Forget 'film look'... go for what 'looks good', and what the camera can achieve. In that regard, look for lighting tutorials and learn to light the scene/set, or 'see' the great outdoor lighting to capture 'the best look'.
thanks for such a fast reply. i will be editing in premiere pro cs4. i already bought lights ,track dolly and tracks, and a jib arm crane for shooting. i do want the best looking video possible and i know that lighting plays a major role in getting that. so staying progresive is my best bet for output to dvd & web?
DVD can handle progressive gracefully... very well, in fact. And since this will be going to the web as well, you'll want to avoid 60i. Interlaced will look terrible on the 'Net, since watching on a computer is watching on a progressive display. 30P looks great, but the only thing it has in common with 24P is the "P." It's progressive, but has that "video" look to it when it comes to motion.
Since you have PPCS4, you can deal with 24p Advanced. I diagree with jiclark that you need to forget film look. 24p from the DVX is stunning... it is what looks good and what the camera can achieve. I do agree, though, that lighting tutorials will be essential... and that squeeze mode is something to think about. I shoot almost exclusively in 24pA squeeze with my DVX100a.
Remember that there's a HUGE difference between 24p and 24pA. If you're going to work in any flavor of 24p, make it Advanced. Both can have the pull-down removed and be edited at 23.976, but 24pA is much cleaner on that. And both can be edited, without pull-down removed, at 29.97, but 24p (standard) is cleaner for that.
Since, again, you're talking about DVD and 'Net, go with 24pA and remove the pulldown.
Not true. The difference is in the cadence. 24p's 3:2:3:2 cadence requires reassembling some frames from interlaced pieces of others... which requires re-compressing that frame in the DV codec. So one frame out of every four in the cadence will suffer in quality.
With 24pA's 2:3:3:2 cadence, reassembling the original 24 frames simply requires deleting some extra information... no re-compressing of any frames. So it's cleaner.
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Squeeze allows you to work with a 16:9 frame... no black bars from letterboxing.
4:3 is fine, but 16:9 is common practice nowadays. Plus DVD players will automatically letterbox if playing out to a 4:3 TV. So why not work with 16:9 if you can?
jambredz
Veteran
hmmm...so this may explain why i was having a particular problem. I normally shoot 24p standard and edit on 24p timeline on Premiere cs3, but sometimes i will see some interlaced looking parts sparsed throughout, but everything esle would look fine. I coudlnt understand why this was happening and i was shooting progressive. i thought it only showed in the NLE but after exporting to tape or the net it still would look like that. oh well...i'll be swtiching to 24pa.
andythefilmer
Veteran
If you are newer to video and editing but want the film look, I would go with 24p (not 24pA). What system are you using to edit on? If it is anything consumer, then you might have to shoot 24p normal. Basically, 60i, 30p and 24p are captured at 29.97 frames per second, but 24pA is captured at 23.94. However, almost all consumer systems will not support 23.94 capture and editing. It is said that 24pA looks more "filmic", but I have looked at two scenes I shot side-by-side with two dvx's on he exact same settings, and they look exactly the same (I viewed on an interlaced monitor and a progressive monitor). Anyway, good luck with the camera. It can do amazing things if you know how to use it and edit good. By the way, if you need more info, you can use the search function on this site, or get the DVX book by Barry Green available on Amazon. Another great book that taught me so much is the Shut Up And Shoot Documentary Guide by Anthony Artis. It is geared toward documentary production, but almost everything it says can be applied to other types of filmmaking.
Actually, the DVX records everything at 29.97... including 24pA. The difference between 24p and 24pA is the pull-down that's used to record it at 29.97. But since we've already established that the OP is editing with Premiere Pro CS3/CS4, which can remove advanced pull-down, there's really no reason not to shoot 24pA. And after the pull-down is removed, it is 23.976, not 23.94.
What? Two DVXs on the exact same settings would be expected to look the same. Do you mean that you had one on 24pA and the other on 24p?
Look... 24p and 24pA both get the "film" look. 24p is really designed to be edited at 29.97 without pull-down revmoval. This is fine if you aren't going to be watching it on a progressive monitor, but because of the pull-down that's added there are interlaced frames that will show up, very noticeably, on a progressive monitor. Since lots of home TV sets are being upgraded, and most of this stuff ends up on the 'Net nowadays, progressive viewing is much more prevalent and standard 24p is going to show its interlaced frames.
Actually, no. You'll see no difference in the footage, at least in Vegas or Premiere; haven't worked with 24p standard in Avid much.
Now, it's true that Premiere Pro 1.5 was horrible at removing 24p standard pulldown and you did see banding in the C frame, but that hasn't been true since PP 2.0. Vegas had it perfect from the beginning.
But still, shoot 24pA for 24p editing, definitely.
Interesting. With FCP/Compressor, the pull-down removal from 24p used to be fairly sloppy, and I've just never dealt with it since.
Honestly, there are a lot of things FCP/FCS is great for, but dealing with 24p is not its strongest suit. You really shouldn't go by what's what in FCP when considering other software on that score. 
F_Pacheco819
Member
There is a page for beginners using the DVX somewhere on this website. It contains great info for a beginner.
Actually, heres the tread...
http://www.dvxuser.com/V6/showthread.php?t=6721
Actually, heres the tread...
http://www.dvxuser.com/V6/showthread.php?t=6721