Frage von Addie:
Hi,
I have a couple of times Sunday HDV HV20 test shots of the outdoors made.
First, a scene in Cinema mode, and 50i. Then, two scenes in plus 25p cinema mode. The rest then back to 50i plus movie mode.
All I then via HDV Split captured and imported into Ulead VS11. Since I do not have HDTV (comes later), I have the whole just as the SD DVD output and downscaled according to the standard DVD player and TV tubes play.
It has struck me as follows: The first scene is unnecessary and without Ruckler play. The second in 25p mode, then with this "Microrucklern". The above balance - so again back to 50i plus movies - but then was not only completely verruckelt played - it was a real flicker! Especially when zoomed shots. Could it be that several different recording settings on a tape one after the other problems? In the instructions I've read so little, but I thought it just meant so that you can not HDV and DV on a tape to.
This flicker occurs at any rate not in previous test shots with consistent 1080/50i-Modus on. However, since I had not synonymous cinema mode.
The whole then brought me to the following questions:
1) What does the camera exactly in this "movie" mode? Contributes to flicker at this?
2) Does the flicker a bit with the downscaling to PAL standard and / or playback on TV tubes to do?
3) What is 25p ultimately good? Why or how is the movie look even more?
Should we then not synonymous s.einen HD-DVD/BluRay-Player have ADDITION AND b) an HD Television, which both support 25p, so 25p smooth expires? This offer is not all. This is actually very different! Or because I overlooked something. Is more a question s.die technology freaks.
I'm anxious to see your answers ...
Antwort von Schleichmichel:
25p is good for one movie or on closing date for projections by Beamer is a good choice.
The other hand is a different type of movement impressions, because when 50i is the higher temporal resolution. Applying now a rule of the arts, all to the need to reduce is 50i better than 25p. This is true for stage work, but not necessarily for sports.
The bucking is even more "desirable", but we must learn to deal with, so it does not interfere.
Oh, and the Cinema mode is for most camcorders on the gamma curve, which then will be a bit inflated.
Since the correction, but a digital is the better calculator can be achieved (because UNDO!), I recommend not necessarily. Much better is to ensure that the subject according to the recording system will be lit. Because then you put up with no noise and can usually synonymous crispy colors expected.
Antwort von Yann:
In the movie mode, the shutter, however, synonymous to 1 / 48 held if I am not mistaken ... sowas HV20 in my forum and have read ansich is also a setting because the picture is slightly softer. Nevertheless, I would recommend imTV mode filmmen if you have manual work to the remaining settings can üer with the Set button to make manual exposure.
And yes, we should be on a tape etweder only with 25P or 50i with work ... is in Manual.
25P see only good if you really good films ... Here is a great video of jmd dvinfo from the Board. http://dvinfo.net/conf/showthread.php?t=93855&highlight=hv20
It was filmed in 25P and s.PC later by the yellow curve increases. For the record Slomotion you have a shutter of 100 used ... additional settings are but the Tread to read.
Mfg
Antwort von Schleichmichel:
I think you're mistaken. 1 / 48 sec exposure time is only available in film cameras, and is synonymous as the sector mostly on aperture 172.8 ° to 1 / 50 to come, so there are fewer problems with flickering objects (Television) or light sources exist.
Antwort von Addie:
Danke schon for the first time responses!
> And yes, we should be on a tape with only etweder
> 25P or 50i with work ... is in Manual.
Oops, then perhaps the continuous flicker after the return, therefore, I guess times.
> If you have a rule of the Arts in
> Everything except the need to reduce are
> 50i better than 25p. This may be true for scenic
> Works, but not necessarily for sports.
Okay, that sounds a bit according to standard rules of moviemaking. Maybe I should me a good book about such things and buy the above - there's something?
> Oh, and the cinema mode refers to
> Most camcorders on the gamma curve,
> Which then is a bit thick
What does that because that? The display can indeed observe a difference when the camera changes, the picture is somewhat brighter (or darker?) And the colors are different. But somehow I can not be properly designated. Must be first at Wikipedia to see what "gamma curve" actually is ...
And yet as the last thing I had forgotten: the image on the PAL-DVD s.Röhren TV is already at lengths better than I of my old MiniDV Recording on DVD was accustomed. Only one thing bothers me: it is anything but sharp, more like artificially blur. Is this normal? In Cinema mode came to me even more than in the previous program automatic recordings, but since I can synonymous vertun.
Antwort von Axel:
What does that because that? The display can indeed observe a difference when the camera changes, the picture is somewhat brighter (or darker?) And the colors are different. But somehow I can not be properly designated. Must be first at Wikipedia to see what "gamma curve" actually is ...
And yet as the last thing I had forgotten: the image on the PAL-DVD s.Röhren TV is already at lengths better than I of my old MiniDV Recording on DVD was accustomed. Only one thing bothers me: it is anything but sharp, more like artificially blur. Is this normal? In Cinema mode came to me even more than in the previous program automatic recordings, but since I can synonymous vertun. Salut Eddie.
Unfortunately, I do not know specifically what the HV20 at the "Cinema Mode" causes, whether it as a kind of "Cinegamma" is.
The background is that in analog recording of the proceedings without distortion recordable contrast only a few stops was. This was so Pi mal Daumen between 1:30, so that white is 30 times brighter than black. Also DV and HDV signals can be (very fast) on his or untersteuert (> clipping), but theoretically a contrast range of about 1:120 show. For now the biggest spectrum shading to obtain the sensitivity curve gets gray for a "knee", ie it is below and above as little trimmed, but s.besten differentiate the nuances of the European skin, it therefore lighter shades of gray (luminance) sensitive than darker. Because, as you can imagine, flat skin tones s.ehesten disturbance.
Better explain the benefits of Cinegamma
here. Another error of the conventional video recording is the contrast sharpening. Especially cheap Cams make muddy pictures thus clear that the focus increases. At such transitions are terraced graduated color ( "Posterisierung") rather than softer, more natural transitions, and wrinkled and artifacts. Here sharpness by artificial reduction of the available spectrum suggests nuances. As the cinema mode probably get a high dynamic range goes, it would be logical to sharpen the contrast would be off.
So far, I like the rhymes together. Additions and corrections welcome.
