Shoot in 24P or just use DVFilm?

Norm Sanders

Norm Sanders

Script Wrangler
Does anyone (Barry perhaps) know if converting 60i to 24P with DVFilm will look exactly (or even better) the same as shooting in 24P in the first place?

The reason I'm asking is that instead of having to plan my shots so much, I can just shoot everything in 60i, edit it on a 29.97 timeline (or 60i, I guess) which will give me more freedom in my velocity warping (time stretch in Vegas) ... I can in the middle of the shot just slow it down when I need it.

Then, once everything is edited, I can just render it to a 60i AVI file, then run that through DVFilm.

I love the film look, but if I can get the same look in post, I may as well do it there instead, saving more time upfront & having footage I can do various things with later.

Thoughts?
 
I can't imagine that converting 60i footage to 24p in post will ever look as clean or be as effective as shooting 24p (or 24pA) to begin with, since shooting 24p is actually giving you actual progressive frames, while converting interlaced frames will involve more processing and interpolation of the image, to deinterlace and convert it to 24P.

Of course, I've not actually seen 60i converted to 24p via DVfilm, but I have seen numerous feature films shot in 60i on DV and converted to film, and they never look as good as material originated in 24p.
 
My initial thoughts are the same as yours, however I've read raves about the software & process (granted they were testimonials from DVFilm's site), and even first heard about it from one of the regulars here on DVXUser.
 
Jan is not just representing her product here. It happens to be true.

First, I can't imagine how any time will be "saved" up front. You need to be as meticulously planned out whether you're shooting in 60i or 24p. Shooting in 60i offers no shortcuts or time saves. If you're worried about slo-mo, well, you should know before you shoot where you plan to do it, and shoot accordingly.

Also, if your ultimate destination is 24p, you STILL need to treat the camera like it's a film camera. You STILL can't use whip pans or fast zooms or anything else which would make film look stuttery or stroby, because guess what? Once you convert to 24p, it'll be there.

And, as Jan says, you lose up to half your vertical resolution when you convert to progressive . . . less in shots with little motion, but oh, boy, is it apparent when you do have motion. And your project isn't a series of still shots, is it?

So, if you're looking for shortcuts, don't. It will be apparent on screen.
 
Shooting in 24P is definitely the way to go for highest quality 24fps playback.

You can add effects to make it look like it was shot in 24P, but they are *still* effects. As everyone's said, it's nothing like the real thing - believe me, I've tried! Once you go native 24P you'll never go back...
 
Thanks for the feedback thus far. I've got the DVX100a, and have been shooting projects in 24P, but have been looking at all the new HDV coming out & was wondering. If Pani's new secretive camera is truly going to be up near the $10K range, then I was thinking about the alternatives (i.e. shooting with Sony's, then doing the DVFilm convert).

When comparing a camera that may cost over 2x as much as another, I've got to start looking at ROI ... especially if much of my end audience is just watching the finished product on some sort of TV.

Regardless, I guess I'll wait until the announcement & final cost of Pani's new camera before deciding what to do. One thing's for certain; I'm not putting any more money into accessories for the DVX100a.
 
I have been recently working on figuring out the best method to shoot and edit my new documentary giving it the motion of film, and I have tried all the various software available to convert video to 24P, or give it 24 fps film motion. Looking closely at all the methods, I found that DVFilmmaker is the very best way to convert footage to 24P , as its process loses the least amount of detail of any of the other methods.

That being said, I also compared it on the monitor to 24P Advanced material shot with the DVX-100, captured with advanced pulldown, and I could see a much higher quality level with the DVX-100 24P Advanced footage (especially in highly detailed areas like the eyes and glasses).

So my method for this documentary will be to capture all new footage at 24P Advanced, and with the archival footage that was 29.97, use DVFilmmaker to convert it to 24P so that I can edit it all in the timeline.

I wouldn't give up on your DVX100 at all. These are the hottest cameras to date, and the picture is amazing! I get tons of compliments all the time. I'm excited about the new HDX camera, but will most likely keep my 2 DVX-100s for event videos for the forseeable future.

Jan, I was wondering if the batteries for our DVX-100s will work with the new HDX camera, and if the lens diameter will be 72mm so we can use the same filters?

Thanks,

Lane Wyrick
 
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