XHA1 NY Clip

ncje said:
For PC, macs, shomei, any electronic components to do anything Akihabara is the place to go. THere is a few small broadcast shops that offer mostly support equipment etc but are usually way overpriced on their cams.
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Thanks ncje, in due course, I'll get the rels to look into it at Electric Town.
 
TimurCivan said:
Elton that funky "interlace artifact" around the red light in the Faces shot. does that show un in playback in 1080P??? is it like a line twitter? or do you not see it?
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I think it's the limitations of an 8 bit codec in an overexposed area. It might also be a limitation of 4:2:0 sampling but I don't find it to be bothersome, and it can also be smoothed in post if it is.
 
nah i think its the F part f 24F.

only becase a while ago somone was doing B&W with the XLH1, and put a red/magenta filter infront of the lens to bring out the contrast. BUT! it caused that interlace artifacting. granted thats REALLLLY pushing the codec hard, but it is there. i think camera internally uses the chroma smaples to generate Luma in the "inbetween" lines. if you saturate the CCD, it reads higher luma in that segment creting the interlace look.

My non engineer theory. but i am VERY VERY sersouly considering a XLH1. so this isnt a detrement to the machine. i LOVE it.
 
Interesting theory Timur. I think going with lower sharpness and horizontal detail frequency can compensate somewhat for the issue too.

So, you're considering an H1? Is it for the lens options and SDI? For the money, the A1 is an exceptional performer.
 
I dont know. i cant figure out why im drawn to the H1..... its magnetic........ lol.

But im also considering the HD200, HVX200, V1u as well.

The problem is, this. Many clientel have specific needs. for example, if i shoot CAnon HDV 24F, I shoot 5 hours of footage for example, now the client needs to borrow my camera to digitize the footage or there has to be a second meeting hand off of hard drives. Thsi wastes SOOOO much time and money, and wear on my machine.

Same goes for the HD200, and the Sony. ( stupid HDV......)

HVX, granted has image weakness ( big offense to me), but offers MUCH fuller versatility. DVCpro (25,50,100 variframes etc.....) Yet the HVX also runs an as of now, a relativly imcompatible PRO format with the clientel i work with ( ametuer fimmakers Broadcast news divisions....... Yet, i can hand them the footage right to their hardives through my computer....... so there is no second meeting. also there is the HDrack DVCpro => AVI converter. so they can now have editable files.

But the picture itself is teh WEAKPOINT!!!!!!! the one thing that should NOT be!!!!!!!!

all that flexibilty for a weaker pciture!!!!!! ARRRGRHRRGRHGRHRGRGHR!!!!!!

im probably gonna buckle and get the HVX just so i can offer any format the client needs... but i will get bitten by Buyers remorse, and dream about RAZOR sharp footage for the rest of my life.
 
Thank you, Timur. My sentiments exactly.

The H1/A1/ image is so much more pleasing than the HVX's image, but the HVX is a bad ass camera as it sits. That makes it harder to decide.

Don't feel bad, dude. You're not the only one that feels like that.
 
Timur,

I understand your dilemma. What NLE's do your clients normally use? I'm currently using a Firestore C which allows me to capture HDV as m2t's or as FCP-friendly QT HDV clips, in F mode or standard 1080i.

With the current 24F support in the latest FCP, it's a no-brainer. It's just as tapeless as P2, but for safety I roll tape and simply put them away and use my Firestore files.
 
Kholi said:
Thank you, Timur. My sentiments exactly.

The H1/A1/ image is so much more pleasing than the HVX's image, but the HVX is a bad ass camera as it sits. That makes it harder to decide.

Don't feel bad, dude. You're not the only one that feels like that.
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yup_
 
Nope, I'm home. I was only there for a few days, but I'll be back in a few months for an upcoming project. I'll holler at ya when that happens.
 
Elton-
Great footage. Thank you. Was instrumental in helping me to decide to purchase the A1 a couple of weeks ago.
Have been meaning to ask you -
Did you shoot this handheld or with some kind of rig? And, if with a rig, what kind?
 
Elton said:
Thanks rawfa. Well, I hate to be boring but the process was simple:

--Shot relatively flat and neutral looking footage for more CC flexibility
--Captured and edited with the new HDV 24F support in FCP 5.1.2 (it's really nice)
--Copied the HDV edit into a less compressed timeline for a final render (bypassing the "conform to HDV process")
--Encoded a 720p h.264 QT via MPEG Streamclip. (still a very useful utility program)

Does that help?
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i am reading this thread for the second time trying to understand if your capture is via HDMI output with 4:2:2 color space?

excuse my naiveness, because if still only 4:2:0 why would one go through the hassle of tethering oneself to laptop?
 
Boy, it's funny how these threads get buried over time. Sorry SamKam for not responding earlier--

It was all handheld; my technique was simply to have OIS engaged and hold the camera against my chest. It took a little getting used to but the results were very satisfactory for such a long zoom shot.
 
MrSleep said:
i am reading this thread for the second time trying to understand if your capture is via HDMI output with 4:2:2 color space?

excuse my naiveness, because if still only 4:2:0 why would one go through the hassle of tethering oneself to laptop?
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No, that was all simply HDV 24F tape acquisition. I did some very simple and crude CC's in an HDV 1080 24p timeline and then copy/pasted my the HDV edit into a Sheer codec timeline for final render. I then exported h.264 from the intermediate codec file.

Make sense? Bottom Line: The HDV is very workable in post.
 
Norbert said:
Wicked shots! I bet that zoom shot would have been awesome in slow motion.
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I really wish I'd shot some 1080i for slowmo. It would've been pretty interesting.
 
i wish the HVX had a HDV option.......

So elton you were working on Mac's movie???
 
thanks Elton!

up till now all the information i have read was to use 4:2:2 and 4:2:0 is not good beyond post color grading.

your footage gives a knock out example much higher than what i was expecting according to what i have read.

after seeing HV10 footage and your A1 with CC i am hopefull the HV20 will do the job quite nice.
 
TimurCivan said:
i wish the HVX had a HDV option.......
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And I wish the H1/A1 had a VFR/DVCPRO HD option. :) With all my little fast/slowmo experiments you'd think I'd of bought a camera that was tailor-made for off-speed shots. I guess I'm a glutton for punishment. :P

So elton you were working on Mac's movie???
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Well, I was originally going to help with Mac's shoot in the Salt Flats, but the timing this winter just wasn't gonna work for a predictable shoot. We were actually going to attempt a full HD-SDI shoot with the H1, but no go.

Hopefully he gets his Red and comes out to Utah sometime this year.

Here's a grab from a quick location scout shot I did with the A1 (I barely made it out there before dark) :
SaltFlats1-1.jpg
 
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i havea friend whos buing a red too... I am like drooling wiating ofr him to buy it... lol
 
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