I got the firmware!

Okay so you made the big announcement and I read the posts and I'm surprised that not one person has asked this yet.

Have you done a side by side comparison of your 30p footage and the 24p footage. Is there much of a difference?

I'm of the mind set that 24p (at least on the 5D Mark II) is irrelevant when it comes to the look. Anyone on this board can go on about the blah blah blah of 24p, but when it comes down to it, your non-filmmaking audience won't be able to tell the difference. At least that is what I'm thinking. I would love to see your 24p footage vs. 30p footage so I can for myself.

I'm just bummed that the firmware didn't come with 60p/50p. Slow motion is useful to me than 24p because at 30p the footage already looks amazing.
 
StormFactory said:
Okay so you made the big announcement and I read the posts and I'm surprised that not one person has asked this yet.

Have you done a side by side comparison of your 30p footage and the 24p footage. Is there much of a difference?

I'm of the mind set that 24p (at least on the 5D Mark II) is irrelevant when it comes to the look. Anyone on this board can go on about the blah blah blah of 24p, but when it comes down to it, your non-filmmaking audience won't be able to tell the difference. At least that is what I'm thinking. I would love to see your 24p footage vs. 30p footage so I can for myself.

I'm just bummed that the firmware didn't come with 60p/50p. Slow motion is useful to me than 24p because at 30p the footage already looks amazing.
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Ditto. And yeah, I defy any "normal people" to tell the difference between 24P and 30P. I've shot and have seen plenty of 30P stuff, and I'm fine with it, especially when you have the advantage of less strobing.

.
 
Chris Santucci said:
I defy any "normal people" to tell the difference between 24P and 30P.
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Progressive shooting v interlaced

A little film grain v super clean

The 'right' shutter speed v 1/30th

24p v 30p

A subtle grade v ungraded

Suitably shallow DOF v everything in focus



You might not notice any one of these features in isolation, but when together the result looks much much 'nicer' (subjective, of course, but widely agreed on).

And yes I can tell the difference between 24p and 30p from simply viewing the movie - agreed it is subtle, it doesn't leap out at you like black and white v colour, but is a part of a broader set of features that collectively add up to what we recognise as high quality filmic imagery.

The quality can be expressed simply as 30p looks more video-like and 24p looks more film-like. Subtle, yes, but there, and all the incremental gains in perceived quality all help.
 
Agreed, if all other elements were equal and you put 25fps and 30fps footage in front of people, I think you'd be hard pressed to find anyone who could tell the difference, at least those that weren't being critical.

However, 24/25 is part of the bigger picture, and so it's certainly welcome as another step down the road towards a filmic image, which is the road most of us want to go down ultimately.
 
StormFactory said:
Have you done a side by side comparison of your 30p footage and the 24p footage. Is there much of a difference?

I'm of the mind set that 24p (at least on the 5D Mark II) is irrelevant when it comes to the look. Anyone on this board can go on about the blah blah blah of 24p, but when it comes down to it, your non-filmmaking audience won't be able to tell the difference. At least that is what I'm thinking. I would love to see your 24p footage vs. 30p footage so I can for myself.

I'm just bummed that the firmware didn't come with 60p/50p. Slow motion is useful to me than 24p because at 30p the footage already looks amazing.
Click to expand...

Subtle aesthetic differences in motion at different frame rates aside here in PAL land 25p is still the standard for DVD delivery. I had a deadline for the Sydney Film Festival a couple of weeks ago and there was no time to do an optical flow conversion so I had to do it in compressor and it looked like ****.

There's a post on canonrumors today that says 720p is not limited by hardware and that Canon have developed and tested uncompressed HDMI out firmware so maybe we'll see another update with both......deliver that in the MKIII with a global shutter and no line skipping/pixel binning and the RED becomes an expensive doorstop.
 
squig said:
Subtle aesthetic differences in motion at different frame rates aside here in PAL land 25p is still the standard for DVD delivery. I had a deadline for the Sydney Film Festival a couple of weeks ago and there was no time to do an optical flow conversion so I had to do it in compressor and it looked like shi*.

There's a post on canonrumors today that says 720p is not limited by hardware and that Canon have developed and tested uncompressed HDMI out firmware so maybe we'll see another update with both......deliver that in the MKIII with a global shutter and no line skipping/pixel binning and the RED becomes an expensive doorstop.
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Global shutter, no line skipping/pixel binning... doubtful even on the next generation. In the future yes, the immediate future-not likely. My feeling is if a little black box that goes with an HDMI out can be brought into production at a decent price point, that would be enough to kill the Scarlet completely. But RED will probably continue for the next level-up users...

Hey Squig, can you share a little more about the Optical Flow process, I am truly unhappy with Compressor as well...
 
yoclay said:
Hey Squig, can you share a little more about the Optical Flow process, I am truly unhappy with Compressor as well...
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A few forum members did some testing and agreed that optical flow in Shake is the best method. Motion 4 in FCS3 has optical flow too so I'm going to give that a try.
 
We have no chance of seeing a global shutter in this price range. All we need is faster read/reset times like red has already accomplished. Even if they were equal to the EX1 it would be a step in the right direction.
 
squig said:
A few forum members did some testing and agreed that optical flow in Shake is the best method. Motion 4 in FCS3 has optical flow too so I'm going to give that a try.
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Shake is the best method, but you can set compressor for an optical flow too. I don't see differences on 95% of footage (you can find details on workflows on cinema5d threads)
 
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