Flicker Horror!!!
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moldcad
Veteran
OK, so after booth's remark on the 25p->24p conversion necessary for Vimeo, I re-encoded and put the clip back to Vimeo here:
http://www.vimeo.com/1302793
However - and sorry if I'm being OT in this thread - I don't seem to be able to get rid of the picture red channel "pumping" (particularly visible on the red brick wall, some secs into the clip). This is of course not present in the original 1080/25p video; neither is it visible when playing back from Vegas timeline, after changing properties to 720/24p... What do you think is the reason?
PS Sorry for dirty montage
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could anyone explain it?
could anyone explain it?
I'm pretty sure this flicker (24p/30p) is not normal, its realy horrible and only happens on Sony cams. I know the flicker is something that happens naturally but Sony's flicker is unacceptable and I'm really frustated for not usufructing this setting and give some film look properly.
I tried to use many settings to minimize it, like increasing shutter, checking signal via SDI on a professional sony monitor (LMD-2050 with HD-SDI Board) and its foraway to be a film look, except a Horro Movies!
could anyone explain it?
I'm pretty sure this flicker (24p/30p) is not normal, its realy horrible and only happens on Sony cams. I know the flicker is something that happens naturally but Sony's flicker is unacceptable and I'm really frustated for not usufructing this setting and give some film look properly.
I tried to use many settings to minimize it, like increasing shutter, checking signal via SDI on a professional sony monitor (LMD-2050 with HD-SDI Board) and its foraway to be a film look, except a Horro Movies!
erikcubano
New member
The difference between the 24p of the HVX-200 and the EX1 is that HVX-200 is not real 24p, it uses pull down method and repeat frames in a base timecode of 29.97 fps. On the other hand the EX1 is real 24p, So if you want to have similar results you can shoot at 24p and later export you project in postproduction into 29.97.
basspig
Veteran
I suspect the reason the panning "judder" is more apparent on the EX series is because of the higher resolution and image detail. Try adding Gaussian Blur to the EX clips and then view them again.
Another trick is to use a slower shutter speed/larger dwell angle.
The best way to reduce it is to avoid jerky pans. Keep them slow and try to follow the moving subject if one is there. That will give the eye something to track, alleviating the annoying sensation of not having anything to focus on.
Another trick is to use a slower shutter speed/larger dwell angle.
The best way to reduce it is to avoid jerky pans. Keep them slow and try to follow the moving subject if one is there. That will give the eye something to track, alleviating the annoying sensation of not having anything to focus on.
basspig
Veteran
Chad, I was a 30P user, until I had to put my first title on Blu-ray. No-can-do. 24P only. So now I shoot everything in 24P unless I need overcranked footage for slow mo...
Look at the bright side: 24P is at the same bitrate, so you have something like 20% more bandwidth alloted to each frame for a visibly-cleaner picture.
Look at the bright side: 24P is at the same bitrate, so you have something like 20% more bandwidth alloted to each frame for a visibly-cleaner picture.
Chadfish
Veteran
Yes I know. But isn't it true that BlueRay can do 720/30p?
Anyway I'm aware that the image quality gets a boost at 24p. I just do a lot of stuff for TV and 30p translates better to NTSC standards. I also like to have the freedom to pan faster if I so choose. I just wish BR could just open up to 30p like the failed, and superior HD DVD.
Anyway I'm aware that the image quality gets a boost at 24p. I just do a lot of stuff for TV and 30p translates better to NTSC standards. I also like to have the freedom to pan faster if I so choose. I just wish BR could just open up to 30p like the failed, and superior HD DVD.
basspig
Veteran
720P/60, but then it isn't really high def worth watching then, is it?
Yes, it's lamentable that Blu-ray doesn't support 30P. I really wish it did. But then I'd HAVE to get 3 NanoFlash units, as the compression artifacts otherwise would drive me nuts on the big screen!
As it is, I already shot a 3-camera angle fireworks, from within the launch zone (Zambelli Fireworks invited me to do a close up and personal video of their fireworks and we all had to sign waivers for safety liability.) It was the best show Danbury has ever seen as they put on an extra-dense display because it is going to become part of their promotional demo reel. I had two cams at 24P and one at 60P. That last one is for slo-mo instant replay, to fill any 'dark sky' intervals between launches. Everything's being edited on a 1080/24 timeline.
I'm already dealing with the audio limitations of Dolby AC3 encoders... I have a 24-bit recording that I made of fireworks, at the launch site. The dynamic aperture between the explosions and the background ambient sound levels in the middle of an airfield exceeds 85dB. On the 24-bit master, all ambient sound is clear and distinct. On the converted 16-bit version, it's granulated and has hiss added. Most people won't play it loud enough to notice, and most likely most players are too noisy to unmask the ambient sounds, but the difference is night and day. Tweaking those tracks to fit is proving to be a technical feat.
I DO wish Adobe had a license with DTS so I could encode 24-bit DTS-HD soundtracks for this upcoming Ultimate Fireworks Video that I am currently producing. I am managing to do a respectable job remastering the audio to 16-bit Dolby Surround, but it wasn't a simple matter.. lots of experimenting with different dither and filtering algorithms, until I found a combination that added the least hiss while minimizing the granularity of the ambient sound, way down at -85dB.
Yes, it's lamentable that Blu-ray doesn't support 30P. I really wish it did. But then I'd HAVE to get 3 NanoFlash units, as the compression artifacts otherwise would drive me nuts on the big screen!
As it is, I already shot a 3-camera angle fireworks, from within the launch zone (Zambelli Fireworks invited me to do a close up and personal video of their fireworks and we all had to sign waivers for safety liability.) It was the best show Danbury has ever seen as they put on an extra-dense display because it is going to become part of their promotional demo reel. I had two cams at 24P and one at 60P. That last one is for slo-mo instant replay, to fill any 'dark sky' intervals between launches. Everything's being edited on a 1080/24 timeline.
I'm already dealing with the audio limitations of Dolby AC3 encoders... I have a 24-bit recording that I made of fireworks, at the launch site. The dynamic aperture between the explosions and the background ambient sound levels in the middle of an airfield exceeds 85dB. On the 24-bit master, all ambient sound is clear and distinct. On the converted 16-bit version, it's granulated and has hiss added. Most people won't play it loud enough to notice, and most likely most players are too noisy to unmask the ambient sounds, but the difference is night and day. Tweaking those tracks to fit is proving to be a technical feat.
I DO wish Adobe had a license with DTS so I could encode 24-bit DTS-HD soundtracks for this upcoming Ultimate Fireworks Video that I am currently producing. I am managing to do a respectable job remastering the audio to 16-bit Dolby Surround, but it wasn't a simple matter.. lots of experimenting with different dither and filtering algorithms, until I found a combination that added the least hiss while minimizing the granularity of the ambient sound, way down at -85dB.