cutting with 30fps(Cannon H.264) and 25fps(Z100)

I know of one major label music video for a wide release group that was shot in the last few weeks that was done one one of the Canons. The director had bought a RED and enough ancillary stuff to make it an $80,000 investment and he was finding that he liked the look of the Canon better.

The RED user forum had a whole separate section devoted to Canons and other similar cameras.
Thats "Had" as it got closed down when it devolved into trolling and BS. One of the big things going for them is that you can mount all sorts of crazy old and super expensive lenses on them and to some DOP's lens choice is like some kind of cocaine derivative.

There is a feature being shot on a Canon out there somewhere, it was mentioned on the RED board, I think with a noted DOP as well, but I can't find the reference.

Like with all the new technologies, if it's the only thing you're shooting it's not such a big deal. The SD 744T audio recorders have a flat 30fps setting so you COULD do the whole thing in 30fps and only slow it down at the end. I don't know why you would do this but you could.

Our nightmare is that the edit suite is where the choices made on set come together at the corner of Cluster and F**k. The fact that one camera like the HVX200 can shoot 3 frame rates and 2 aspect ratios is enough to lead to headaches in post.

Back to the grind

ak
Sleeplings, AWAKE!

Exactly Tania. That is what we are whether you know it or not (all the complainers aside)...we are problem solvers. Too many people's "advice" is towards what SHOULD HAVE BEEN DONE rather than solving the problem at hand... "they should have done this / should have done that / you're pretty much screwed". That advice doesn't help you now. Peter Wiggins gave you a link above.

When life gives you dilemmas...make dilemmanade.

As a former photographer, I'm glad that my expensive Canon lens collection is now being put to use use on promos shot with the 5D. I use compressor to convert to Pro Res 422 @29.97fps. It's working great.

>I have G5 with 8GB ram.

See if you can borrow a mac pro. On a G5, with optical flow, it will take you about a full day to transcode an hour of footage. On a Mac Pro about a couple of hours. Then you need to check for sync and artifacts.


I always figured the RED vs the Canon 7D is that you can push the footage on the RED a lot more than you can on the 7D. Especially if you set Color to render the Raw rushes at 32 bits.



www.strypesinpost.com

Tania,

It is pretty easy, just work out what you want to edit in 25p or 50i and then drop your footage onto the right droplet.

Peter

compressor offers THREE options for changing frame rates.

the simplest will just repeat or drop frames, and you've the result of that, i think.
the second is a kind of "blend" of the frames,
and the third is a complex re-interpretation of the footage.

this last one takes a very long time, i believe, and can have some odd artefacts (as mentioned by Jeff H).
do a test to see if you like it of not.


i'm not sure which if the compressor variations are used in Peter's droplets.

my experience with 30fps footage from a cannon was pretty good.
they shot on both that camera, and a PAL Digibeta.
the cannon looked great, the digibeta looked like like, well, digibeta

luckily the footage was non-sync,
so we use cinema tools to change the frame rate to the delivery spec of 29.97fps

the digibeta was sped up slightly, and i was surprised at what little difference it made to the shots.


nick

I go from 59.94 to 29.97 and visa-versa via QT export. No issues.

When life gives you dilemmas...make dilemmanade.

>I go from 59.94 to 29.97 and visa-versa via QT export.

59.94 to 29.97 is about discarding every other frame. 30 to 25 is more complex than that.

The third option that Nick mentioned, will usually give you sharper and clearer results. Occasionally it will result in artifacts- eg. the motion blur of a passing vehicle may end up looking a little weird. The last time I used that option to convert NTSC footage to PAL, looked pretty alright. What didn't work on that setting, was when I tried to slow mo certain clips.



www.strypesinpost.com

Thanks Nick,
I will continue to do more tests including your third option. I'm interested in using the 5D droplet to see how the material works. I have testing time.
This is a great site and having heard the different responses and approaches I feel I can offer the producers an intelligent work flow with a bit more knowledge.
All good.
Tania