goddam.

Re: goddam.

There are (I think) 3 different qualities of "Real Time Extreme" playback. Make sure you've got it set to the top quality. I think there's a dropdown menu on the timeline itself for this, could be mis-remembering.

It does sound like the problem isn't with the footage but rather with how FCP is displaying it while you're working. As for exposure, if you can get access to a properly calibrated NTSC broadcast monitor and bring your camera along, you can try to get the LCD and viewfinder both to match that monitor and that'll give you at least a visual baseline to compare exposures to.
 
Re: goddam.

There are 2 different things you must take into consideration:

One, objects might appear darker in computer monitors than they really are. And your lack of focus is not a problem. DV video playback through quicktime inside FCP (on the preview windows) is soft. It's an algorithim quicktime has so it can playback the footage without dropping AND without it looking terrible. The image will be fine when played on a NTSC monitor.

Two, The LCD is bright as hell. I don't know about how much, but you'll have to get used to it. You could try overexposing a little in the LCD, but the best way to do it, is learning how to use te marker, and expose accordingly, without regard for what you're seeing.

I hope it helps. It's absolutely normal.
 
Re: goddam.

[quote author=taubkin link=board=Events;num=1100214592;start=15#21 date=11/12/04 at 12:18:57]There are 2 different things you must take into consideration:

One, objects might appear darker in computer monitors than they really are. And your lack of focus is not a problem. DV video playback through quicktime inside FCP (on the preview windows) is soft. It's an algorithim quicktime has so it can playback the footage without dropping AND without it looking terrible. The image will be fine when played on a NTSC monitor.

Two, The LCD is bright as hell. I don't know about how much, but you'll have to get used to it. You could try overexposing a little in the LCD, but the best way to do it, is learning how to use te marker, and expose accordingly, without regard for what you're seeing.

I hope it helps. It's absolutely normal.[/quote]

about the brightness, i realized. i turned the brightness way down. i dont know why it shows me clearly what im getting on my vx2100, which is an inferior camera, but the dvx default displays are so off it's annoying.
 
Re: goddam.

Not sure how much tweaking you can do to the FCP4 DV codec, (being a PC owner), but it's clearly THAT which is causing the footage to be a bit soft and crappy - try playing with the settings if you can find them. Fcp4 owners here all post with no probs, so many a space-saving 'quality' function is enabled...?
 
Re: goddam.

It's just a faster decoder that uses altivec. The image qulality of the file is preserved. If you notice, when you open jpgs through quicktime (either in preview or iPhoto) they will look softer than they actually are. It's just about the mechanics of the software.
 
Re: goddam.

that soft-when-paused look is because of the video overlay driver that you're having, I assume when Playing the video, it's utilizig the overlay driver, whereas when in pause mode, it's just displaying a buffered frame from when you hit "pause" Don't get caught up with what it looks like when it's on pause. And are you even sure if FCP displays the video in full frame res? Avid Xpress only displays the video in half resolution, so that it can get maximum performance out of its RT engine.
 
Re: goddam.

ON the UNDEREXPOSED issue:

One thing I recently learned was how to 'Calibrate' my computer monitor.  Turns out mine was was too bright.  Using SMPTE Colors Bars and instruction I have succesfully calibrated my Dell Flatscreen.  

Now this has gotten me on a rampage.  I have now calibrated my two televisions at home and next on the agenda....

Calibrate the DVX100.  I never thought of this until now.  I suggest feeding the SMPTE bars through the camera (Goto CAMERA SETUP - Third option down) and calibrate the DVX.

THIS WILL NOT WORK IN 24P UNLESS YOU HAVE THE 'A'

A last resort is to check your IRIS setting.  Defualt I believe is - 3.  Perhaps dial up.


On the Focus issue:

Not sure exactly where your having this problem but if dialed into INFINITY Focus (F99) that is not accurate.  I believe the DVX is better set at F95 for INfinity.    It's hard to tell how accurate it is looking at the LCD or through the VF but go with F95 instead of F99. (Using a Field Monitor obviously will help :P )
 
Re: goddam.

sorry if i sound uneducated... whats infinity? i mean i know how to do it, but what is it? when should i push it down to infinity?

i dont know what color bars look "right."
 
Re: goddam.

Infinity is basically stated as an object(s) being acceptably in focus for INFINITY. As if you can see forever. I'm sure there is a better DEFINITION for it?

Shooting at Wide-open is the key here.

For example, if you have a bush in the foreground, a car and a mountain range in the frame and are shooting wide-open and the the closest you can get is the car and the mountains being in acceptable focus (I can see for miles and miles...) but the bush is out of focus we get into Hyperfocal Distance which is when objects at INFINITY (Mountain range) and objects at the nearest point to the camera (The car) are in acceptable focus.

As far as when to do it? There is no rule on this as it just depends on what your trying to do within the shot.

Thisis when we need Barry to put it into 'non-john hudson' terms :P
 
Re: goddam.

I haven't followed the thread, so I'm not sure of what all's being discussed, but...

As for Infinity focus, that's so that everything at great distances is in focus. The moon, for example: if you push the INFINITY button, the moon would be in focus, as would mountain ranges, etc. Anything that's a long, long way away, like more than a football field away.

Hyperfocal distance is the closest focal plane where the depth of field extends all the way to infinity. It is, by definition, the largest depth of field you can possibly get (and the hyperfocal distance changes based on aperture and focal length, because DOF changes based on aperture and focal length). If you were to set your focus at the hyperfocal distance then everything would be in focus all the way to infinity, and because of how DOF works, everything would also be in focus from the hyperfocal point all the way to halfway to the distance between the lens and the hyperfocal distance. In other words, if the hyperfocal distance was 100 feet, then everything would be in focus from 50 feet (half the distance to the lens) to infinity.

Hyperfocal is an important concept because if you actually focused at infinity, you're wasting a lot of depth of field in front of the focal point. DOF extends for 1/3 the distance in front of the focal plane, and 2/3 behind it. So with hyperfocal, you "shift" the whole zone of DOF forward, so that the very end of the DOF encompasses infinity.

Hope that helps...
 
Re: goddam.

About the focus issue in FCP. When you have captured footage in FCP it will NEVER display full resolution. Even though you have high quality (in FCP) enabled. The only way to see how your video footage looks is to use Quicktime Pro (which you should have if you're using FCP). In your capture folder, open the clip using Quicktime. By default Quicktime does not display with High Quality. You have to turn it on by using cmd-j and select "Video Track" from the pulldown menu. Then on the other pulldown menu select "Quality". Finally check off "High Quality Enabled". Your footage will look nice and sharp then.

Keep in mind that when you output to DVD or tape it, FCP will always export with high quality enabled. This option is turned off for display only.
 
Re: goddam.

Have you checked your field settings in FCP ? Inverted fields may be causing the fuzzy image after capture. Exposures look good to me.
 
Re: goddam.

Michael

I had similar underexposure problems with my DVX100A, when I got it last February. Over these months i have learnt that:

1. The DVX LCD is way too brighter than the viewfinder. In fact, for any realistic/proportionate to actual secne lighting shoot, viewfinder is the only reliable in-camera tool for proper exposure. To my eyes, there is hardly any difference between the naked eye view and the viewfinder view...as far as exposure is concerned.

2. In the progessive mode recorded scenes are slightly dimmer than they look in the viewfinder or the lcd.

3. Auto iris is a wonderful tool, to ascertain the right level of exposure ... A level where the recorded footage viewed on the tv or computer would not look crappy dark. In order to use it as an aiding tool, press the auto button and see the iris reading camera gives you. I have noticed that for most conditions it is the 'best' recommendation (exposure wise) for a properly lit scene.

4. The exceptions to this are the normal to low light indoor scenes, such as a normally lit room, where you have to open the iris more than the level suggested by the auto iris to achieve a what-u-see(with the naked eye)-is-what-u-get image. You may even have to compensate the low light by bringing in the 6db gain, if needed. Similarly you have to open the iris a little bit more, if you need, in case you are recording in the progressive mode.

These findings have been quite helpful, at least to me in overcoming the underexposure problem with the DVX footage.  

I am not a FCP usere so sorry cannot comment on the focusing issue
 
Re: goddam.

[quote author=Aejaz link=board=Events;num=1100214592;start=30#32 date=11/15/04 at 02:24:41]Michael

I had similar underexposure problems with my DVX100A, when I got it last February. Over these months i have learnt that:

1. The DVX LCD is way too brighter than the viewfinder. In fact, for any realistic/proportionate to actual secne lighting shoot, viewfinder is the only reliable in-camera tool for proper exposure. To my eyes, there is hardly any difference between the naked eye view and the viewfinder view...as far as exposure is concerned.


2. In the progessive mode recorded scenes are slightly dimmer than they look in the viewfinder or the lcd.

3. Auto iris is a wonderful tool, to ascertain the right level of exposure ... A level where the recorded footage viewed on the tv or computer would not look crappy dark. In order to use it as an aiding tool, press the auto button and see the iris reading camera gives you. I have noticed that for most conditions it is the 'best' recommendation (exposure wise) for a properly lit scene.

4. The exceptions to this are the normal to low light indoor scenes, such as a normally lit room, where you have to open the iris more than the level suggested by the auto iris to achieve a what-u-see(with the naked eye)-is-what-u-get image. You may even have to compensate the low light by bringing in the 6db gain, if needed. Similarly you have to open the iris a little bit more, if you need, in case you are recording in the progressive mode.

These findings have been quite helpful, at least to me in overcoming the underexposure problem with the DVX footage.  

I am not a FCP usere so sorry cannot comment on the focusing issue[/quote]


thanks for that ill remember that on my next shoot, tuesday. hoepfully everything goes well.
 
Re: goddam.

Are you working in full res on the fcp4? Almost looks like preview mode. What is your processor speed? Sometimes the fcp will do an automitic selection based on the 24P selection and processor speed. Something is being lost in the computer. Concentrate your focus there.

Good luck,

Jan

PS. I truly dislike the title of this thread, I almost didn't look.
 
Re: goddam.

There is a really good lesson from all of this, and one point that is moslty underrated of the Cinematographer's work. Even if you can't get your hands on a monitor, you can NEVER go to a shoot without testing your equipment. Test your camera for exposure, sharpness, focus, color balance, etc. Test your light for color temp and green tint. Test your tripod.

The other lesson, although nos so good is: Use a CALIBRATED field monitor. And if you cannot have it, just don't trust what you see. People who come from film know to shoot by instruments, relying only in exposure and color light meters, while we are used to palmcorders and just think the LCD is our guide. Baseline is: exposure is important, and who determines it is you. So you don't have a lightmeter? The DVX is a great lightmeter, do you know how to use the marker? It will tell you the signal of every region of your frame. The exact video level, or yet, exposure, in percentage. So you can know: The wall is 30%, that is 2 stops under and will be grainy. The actors face is 70%, that is a little over, 60% will look better. And so you'll be able to make your frame just the way you want it to be, by choosing apperture, or by changing lighting. Sure you can use Auto-exposure. Just know what it means, know how it works and it will be your friend. Let it do all the work, and it will have bad results.

BTW, calibrating the EVF could be a nice thing to do, although it really seems good enough for me. But remember that the EVF is also a LCD and it's signal also changes from the angle you look at it. Just check it out next time you use it.
 
Re: goddam.

[quote author=taubkin link=board=Events;num=1100214592;start=30#35 date=11/15/04 at 12:38:57]BTW, calibrating the EVF could be a nice thing to do, although it really seems good enough for me. But remember that the EVF is also a LCD and it's signal also changes from the angle you look at it. Just check it out next time you use it. [/quote]

But you are always looking at it from the same angle.

I prefer it anyway; the LCD can trick you into thinking you have a good composition because of the pretty colors, but the B&W doesn't lie. At least, not as much.
 
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