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Old 01-07-2007, 06:43 PM   #21
AceMartini
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No, just technobabble. We're just talking about how film looks like film because 24 single images shot in sequence make up one second. Standard video (in the US, anyway) is shot at 60 fields per second, which are combined two at a time to make 30 frames per second. This is why the image of a daytime television soap opera doesn't look like a film you'd see in a theater.

24p video does something of a shell game with the 60 fields per second to simulate 24 frames per second. There are a couple of video cameras on the market that do this, to give low-budget filmmakers the ability to deliver a product that looks more like a theatrical film and less like "Days of Our Lives."
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Old 01-07-2007, 07:44 PM   #22
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thanks for making that clear Ace,i actually understood all that.
cheers Paul
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Old 02-07-2007, 01:43 AM   #23
Warin
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Quote:
Originally Posted by AceMartini
I didn't give a very complete reply last night --

The 24p uses the 3:2 pulldown and the 24pA uses a 2:3:3:2 pulldown. However, after conversion, the resulting video can be displayed on a regular monitor or TV. It still looks more like film, even converted to play back in 60i.

Though they used better lenses in 28 Days Later, that's not what changes the look. A lens is a lens. It really all comes down to the frame rate.
I see what you are saying on the conversion. I will have to do some experiments (I have an AG-HVX200 at the foot of the bed ).

I beg to differ on the "lens is a lens" comment. Proper anamorphic cinema lenses do a far far better job of reproducing the nuances of a scene than the generic lenses you find on most prosumer gear. There is also the issue of depth of field... something that most video lenses make a dogs breakfast of... and something that an adapter/light box and good 35mm lenses can improve greatly. In fact, I would say that the glass is probably the most important part of the chain from live to recorded.
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Old 02-07-2007, 01:49 AM   #24
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Hmmm. Guess we'll have to disagree. You are dead on about depth of field, though.
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Old 02-07-2007, 02:42 AM   #25
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A better answer on my part would be -- 24p gives a film look. A good cinema lens on a 24p camera will give better looking images. But -- a good cinema lens on a 60i camera won't give a film look at all -- it will give great looking video.
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Old 02-07-2007, 03:09 AM   #26
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that's the problem with most "video" lenses... they are designed for a large zoom range in a small package, making it very hard to get a lens that can open up to f/1.8 or f/1.4.

Topic change!

Have you looked at Red? 4k resolution and lens compatibility with several major manufacturers? For a LOT less than most professional gear from Sony or Panasonic. I bet some of your stuff would look absolutely spectacular at 4k
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Old 02-07-2007, 03:03 PM   #27
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Warin, do we want to know what kind of films you're making, that you keep a camera at the foot of the bed? Ahem...
Or is it just a lens you keep at the foot of the bed? Maybe I'll just walk away quietly now...
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Old 02-07-2007, 04:30 PM   #28
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Quote:
Originally Posted by CR
Warin, do we want to know what kind of films you're making, that you keep a camera at the foot of the bed? Ahem...
Or is it just a lens you keep at the foot of the bed? Maybe I'll just walk away quietly now...


I have a couple of flatmates, and its such an expensive bit of kit that I keep it securely locked in my room. I dont make any films yet... so far its been used to shoot some performances in Cyprus, and lots of goofing around to get used to all of the controls and settings.

I have no desire to record anything that might occur in my bedroom.
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Old 02-07-2007, 06:21 PM   #29
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I know almost nothing about Red, except that it looks very cool and I won't be able to afford one unless I can do something with my current movie. It would be quite the thing to show off, though.
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