Panasonic Removable Lens Four Thirds HD AVCHD Camera

Oedipax said:
I'm sure you're right Barry, but I've shot extensively on the HV20 and hardly ever remember seeing it there, whereas I can't run my D90 for five seconds indoors without having to fiddle with locking the exposure to make it go away. Is it because I'm able to reliably dial in 1/48 on the HV20?
Click to expand...
1/48 will cause the effect, but very subtly. You need 1/60th to make it go away. Unless you're in PAL territory, in which case you'd want 1/50th.
 
PaPa said:
Darn, don't know how ot play that.
Click to expand...
Unzip it and then either copy it to an SD card and play it on a blu-ray player, or plug it into an AVC-HD camera and play it on your camcorder into your TV, or point your NLE at the clip and import it, or use something like Toast or Nero.
 
Okay... used Log and Transfer to get it into FCP (transcoding to ProRes 422) and then tried Cinema Tools to do the reverse telecine to get it into native 23.98. It processed the clip, but it deleted the wrong frames, so now we have both duplicate and missing frames. ;) Gonna try JES Deinterlacer next and see what happens.
 
JES Deinterlacer handles it fine, as expected. That is kind of a funky workflow, though - wish I could remove the pulldown and transcode in one step rather than two when ingesting...
 
The clip itself is a woman who's fairly underexposed, then it ramps up to a more proper exposure. There's some kinda gnarly banding/compression artifacts in the background behind her (a flat, plain wall that is rather dark).
 
Any JES workflow tips? Does JES open Barry's files or are you doing an intermediate step? I'm downloading as I type.
Thanks
 
The image looks very sharp. There are many different adjustments that can be made with this camera. I am very sure that the we will be able to tweak the image and get very good results.
 
Barry_Green said:
Well, no real way to tell, it was a totally uncontrolled environment. Plus the camera has settable ISO factors, so 100 to (I think) 1600... DVX is 640 to 1280... so... I think I only ran it as high as 400, so not a fair comparison. We'd have to see some 800-ISO stuff to know for sure.

The lower-ISO stuff is the stuff that had the chroma patterning problem, the higher-ISO stuff looked better. That is completely the opposite of what I was expecting.
Click to expand...

That's actually EXACTLY what I was expecting. Especially indoors. The Higher ISO Values in ranges of 400 - 640 are probably where the sensor's optimized and lower is just forcing it into a place it doesn't want to be. That'll be the first lesson people learn. At least this may be applicable to video. Statement pending verification.

The second is that you'll probably want to shoot at 500 ISO or so OUTDOORS as well to net the best highlight roll-off/retention.

It sounds backward, I could be wrong but I was already banking on that.
 
I loaded Barrys file in k-lite codec packs media player classic and selected deinterlacing in ffdshow icon and it ran fine. I ran the .mts file.
 
ah sick, media player classic did play it, just didn't know which file i needed to open.

thanks!
 
Texanite said:
Any JES workflow tips? Does JES open Barry's files or are you doing an intermediate step? I'm downloading as I type.
Thanks
Click to expand...

Yeah, I used Log and Transfer in FCP to transcode it to ProRes, then gave JES the ProRes file to do the inverse telecine and output it again to ProRes.
 
holy f'ing sh!~

I just dropped Barry's File onto an SD Card and popped it into my PS3.

42" Samsung 1080 LCD

HOLY CRAP

This was a BAD CLIP!!?!

It looks absolutely awesome.

Game over man.
 
I dunno, aren't you guys seeing the really harsh transitions in some of the darker areas?

15ogj60.jpg


Unless something is screwed up in my mts --> FCP L&T --> ProRes --> JES IVTC --> ProRes chain.
 
You must log in or register to reply here.
Back
Top