A Few tests to find out what I could do with Dreamlx Footage..

1)Wont work in AE YET
2Wont work in Commotion (Never expected it too
3Wont work in PI (Ditto
I thought AE might have had an Update !

Down Sampled some of Dreamlx Footage to DV WOW Still best Footage I have seen from DV... I have seen footage from the canon XL2 .. The DV Footage I down converted in Vegas still looked to me, Vastly Superior...

I think you'll find if you install the AspectHD codec you can edit the HDV footage once it's converted to their codec in any app on the PC that supports 3rd party codecs. A 15 free trial version is available.
Bob.

Thanks Bob Yes I have the Site Bookmarked Although I didnt want to waste the 15 Day trial untill February... But great to know that !

"I don't know exactly how cinframe24 on the NTSC model works"

As far as a film simulation? It doesn't.

CineFrame 24 is a really weird look to it. It doesn't look anything like film. It looks like your video is dropping frames on playback, except that every five frames or so it throws in a double image.

If you want a weird "gladiator" kind of look to your video, CineFrame 24 might be it.

If you want a film look, CineFrame 24 is absolutely not what you want.

CineFrame 25, on the other hand, is a straight field-blending type of process that delivers a feel similar to frame mode: it's got the temporal motion of 25p, but it is a little lower in resolution.

When playing back these files using the cineform codec should I be expecting DV-like playback rates? The footage still seems slow and jerky on timeline. I'm thinking I set up the project settings wrong.

Playback rates depend on your CPU speed and preview quality setting. On draft, I receive almost 25 fps on a P4 3 Ghz. However if previewing to an SD monitor via a DV convertor, there are less fps (I suppose due to the DV compression that needs to be applied). Anyway you could use ram preview or prerender if you need to preview something absolutely in realtime.

Thanks for your reply Barry Green, you addressed my question. You said:

CineFrame 25, on the other hand, is a straight field-blending type of process that delivers a feel similar to frame mode: it's got the temporal motion of 25p, but it is a little lower in resolution.

Lower in resolution? I knew it was too good to be true! :-) Still, the footage Spot posted looks great, even if it is deinterlaced within the camera (or perhaps it's just using a smaller area of the CCDs? That's what some of the Japanese examples seemed to show). In any event, I'll be getting my hands on a couple of these cameras as soon as they are released in Australia, and I can't wait to test them to see the real resolution difference between 25i and Cineframe25. If the difference is small, I'll be using this camera a lot.

Until Canon bring out the HDV version of their XL2 that is... ;-)


Skevos Mavros
http://www.mavart.com

A couple ! I think it may be worth waiting to see if Sony update the DSR-570 To HDV... This for me would be the Ultimate budget Film Makers Camera at least till the Next BIG Thing anyway

It's lower in temporal resolution, not spatial resolution. 24p has to be a lower temporal resolution (temporal=time) There is one less frame per second than 25p.
Barry, in the CF mode, no frames are dropped. Steve Mullen mistakenly made that claim before he saw the camera. He also brought it up at the Sony press conference. Sony set him straight, and on the Cow site, he corrected his error. Quite a thread to read though, if you've got the time.

Barry you have asked some very well Judged questions ! You seem to know your stuff ...

Some of the Things you have raised /answered

1) The Cameras Dof is the Same as any other camera with equivelent chips
2) The Camera at present cannot record back in hdv
3) The Camera uses frame Blending not true Progressive ..
Amongst many others

I have Judged the Camera Only on what Footage I have seen which to me is the Best I have ever seen short of actual Film

Im sure you have formulated an Opinion perhaps not quite BUT I would be fascinated to hear your Views on it at this moment in time Compared to THE Canon perhaps..

mark2929 said:

A couple !

Heh - the place where I work part time has already placed an advance order for two of them. So I get to play with no risk. But after seeing the footage Spot posted, my mind is 90% made up to get one for myself as well.

I think it may be worth waiting to see if Sony update the DSR-570 To HDV... This for me would be the Ultimate budget Film Makers Camera at least till the Next BIG Thing anyway

Lovely camera, no doubt about it. The lens alone would make a huge difference over the Z1, even if all else were equal. But it's a bit beyond my personal budget right now. Maybe next time. :-)


Skevos Mavros
http://www.mavart.com

Skevos said

In any event, I'll be getting my hands on a couple of these cameras as soon as they are released in Australia, and I can't wait to test them to see the real resolution difference between 25i and Cineframe25. If the difference is small, I'll be using this camera a lot.

I misunderstood Skevos.. I thought you personally were Purchasing two In which case Buying a single 570 if updated to HDV.. May have been the way to go ! :)

Just for clarification, the camera can record back in HDV, the software to do it isn't there at present. :-)
The pixel count is the same, but they are stretched. This is part of the technology. It's not cheating, it's just the difference between a square brick and a rectangular brick. If nothing is lost in the way the pixels are managed, then is the shape really the issue?
If you want to look at only mathematics, HDV is the WORST way to go because of the MPEG factor, the stretched pixel factor, the audio compression factor, etc. However, there is serious mojo in the FX1 and even more in the Z1, and the images out there bear that out. You're getting reasonably dang close to the middle high end cams for a fraction of the investment.
FWIW, when DV came out for those that remember, we couldn't print to tape using DV for nearly a year. We couldn't even capture without using analog transfer for nearly a year. Some companies like Canopus took about 3 years to get it "right." But those that were early adopters didn't complain, because they knew they were on the cutting edge which is sometimes painful. Hell, it's ALWAYS painful, but it makes for great experiences and informed users when it hits the mainstream, yeah?

If a Picture could speak a Thousand words who cares what brush strokes da vinci or Van Gogh used To achieve thier Goals.. This is A Groundbreaking piece of Kit ..So many things that revolutionise... Price.. Size.. Picture... DOF... to mention a few..Looking at the Size of the Camera A Lot of Technology has gone in there, and I know Sonys reputation for excellence even if Customer service has in the Past been well "Bad"... But that is because there Quality control is so high and a large amount of Money invested in the Equipment that they think for the most part Its not their fault ect" My Opinion oNLY" and From MY own Past Experiences .. It really would not surprise me if this Camera stayed in Pole Position for a Long time...

I wouldnt even be surprised to see it go up in price !

I said the same thing about price quites a few weeks back. Remember the XJ6?

The US dollar is sliding, anything made in Japan or elsewhere is likely to go up in price.

Buy everything NOW.

Happy memories Douglas.
Until my Z1 arrives, I am still using my pre-firewire 3CCD MiniDV EZ1 camera. Used to capture from the camera's analogue out using a miro dc30+, as did many, including John Cline.
Had two 9 Gb IBM SCSI drives costing A$2,000 each, and put out a one hour program on Hydrotherapy by using 11:1 compression - looked pretty good.

The next era is dawning.