Comments

riredale wrote on 3/9/2005, 12:49 PM
The conversion from 60i to 24p creates artifacts that wouldn't be present if 24p was used as the mastering format. If your desired output format is 24p, it seems to me you should shoot in 24p, all things being equal.
FuTz wrote on 3/9/2005, 12:53 PM

From tests I did some time ago, when I rendered 24frames from a standard NTSC shot movie, I noticed the "rythm" is "broken" (ie, not steady) in the rendered 24frames movie. Sort of gets a "hole" at a steady beat, which can be annoying if , for example, you have a car or bike passing by in the shot...
logiquem wrote on 3/9/2005, 1:00 PM
Did you ever see a true progressive scan image of something like a Pana DVX100?

It has the double vertical resolution of an interlaced image (altough half the temporal resolution). When you deinterlace the image in post, you get a blurring effect because you combine two fields having a temporal delay to form a single frame.

This has a major impact on image quality, definition and general feel, and it is even more dramatic on progressive scan devices like a computer computer monitor (or any progressive scan capable device).
farss wrote on 3/9/2005, 2:19 PM
This is simply wrong. The DVX100 shooting progressive does not have double the vertical res of it shooting in interlaced. It has 30% more. This is becuase in progressive scan the camera has to turn off line averaging. That gives you more vertical res but brings the noise up 6dB. That information by the way is from Panasonics own white paper.
Well shot interlaced footage can be successfully de-interlaced so effectively I doubt anyone could tell the difference. You need high end hardware or decent software tools that use motion vector compensation, this is done all the time in broadcast as part of the standards conversion process as well as to achieve the 'film look'.
For what it's worth I have some comparison footage shot on both a XL2 and a DVX100 by someone looking to use either for broadcast. Their conclusion, both 24p or 25p is useless as a general purpose format for TV acquisition. In controlled shooting enviroments the story is different but for ENG or sports forget it. Now once you are shooting in a controlled environment the issue of effective de-interlacing pretty well goes away anyway. You would be better off shooting progressive just to pick up the extra 30% vertical res though.
This isn't just one guys tests either, I know another DVX100 shooter, tried shooting 25p and gave it away as a joke, he shoots boxing, again the lack of temporal res and all the nasty artifacts that low frame rates introduce are the killer. This doesn't just apply to video either, just look at the dramas the film guys face every day shooting at 24fps.
Bob.