As I understand it, it is not possible to combine frame rates on the same timeline. But in cases of 30 and 60 fps, is this still true? Can the 30 be doubled or the 60 be reduced. Maybe a stupid question but I love the JVC but am now noticing the differences in framerates between 60 and 30. For instance, 60 SD looks fine while tracking a racecar in the viewfinder but switch to HD30 and I get a very jerkey appearance in the viewfinder. Can I shoot racecars goiong around a track in 30p?
Understanding the HD100 on a timeline
- Thread starter filmgirl
- Start date
direttore
Active member
As I understand it is easy to convert to 60i (interlaced) from 30P, but not the other way around. I would just convert the 30P material to 60i and then edit on the same timeline.
Any kind of motion in regards to the 30P is going to be jerky, not because of the 30P so much but of HDV and it's compression. So, to answer your question, no, I would NOT necessarily shoot racecars with the JVC HD100, but experimentation with shutter rates (faster) may yield acceptable results.
Any kind of motion in regards to the 30P is going to be jerky, not because of the 30P so much but of HDV and it's compression. So, to answer your question, no, I would NOT necessarily shoot racecars with the JVC HD100, but experimentation with shutter rates (faster) may yield acceptable results.
Nate Weaver
Veteran
direttore said:
HDV compression artifacts with motion cause blurring, not strobing. And that part is subjective and very debatable, especially with the HD100 and it's use of 720p HDV vs 1080i HDV.
The only sort of fast movement I would hesitate to shoot with HDV is where you have LARGE amounts of motion and the background is very finely detailed. Like fast moving birds through trees...
Thanks. You all were right. I've looked at the footage I shot at the track this morning while the crew was filming the commercial and the steadier I can keep the subject centered, the blur goes away. In fact, in a room full of people late this afternoon, no one but me even noticed the background blurring or strobing or anything, and these are some critical people, until the car went by and I was panning background. The cotrol of the speed of the pan and the concentration of centering and steadying the object is the key to this and I can see how practice is the key. Elsewhere in postings I read about the Cinematographer's Handbook, wandered down the hall and picked up a copy, found a table of relative speeds, followed them and wonder of all wonders, the blur and stutter were gone. I think it was a Tim Dashwood or Barry Green posting. Both of these people seem like they know what they're talking about so to all of you here and there, thanks.
And by the way, let me begin to contribute something here. Did you know that you can use awesome filters to make the sky pop while focusing on a shiny automobile on the ground. Without the filter, the camera averages the brightness of the sky, the relative darkness of the asphalt and ground and car and averages the center making the car a jumble of dulled-down color. A clear bottom and blue top filter pops the sky so the focus can remain on the car without the sky dulling out completely. I love this camera. Actually I love the camera and getting out of the office, off the lot and into the field with a bunch of really smart camera, sound and EFX people.
And by the way, let me begin to contribute something here. Did you know that you can use awesome filters to make the sky pop while focusing on a shiny automobile on the ground. Without the filter, the camera averages the brightness of the sky, the relative darkness of the asphalt and ground and car and averages the center making the car a jumble of dulled-down color. A clear bottom and blue top filter pops the sky so the focus can remain on the car without the sky dulling out completely. I love this camera. Actually I love the camera and getting out of the office, off the lot and into the field with a bunch of really smart camera, sound and EFX people.