Logo Logo
/// 
XL1 und 16:9

XL1 and 16:9



Frage von campool:
Dezember 2009

Is this Canon recorded in a position to anamorphic 16:9? (Of course, without Anamorphic!)



Antwort von Commanderjanke:

The Camera is not included in the position since the 16:9 only 4:3 CCD Camera 's has. But a 16:9 mode, but is not a proper 16:9 but a 4:3 picture that has black bars top and bottom (letterbox).

Greetings from the Commander



Antwort von campool:

Thank you!








Antwort von Marco:

Almost. The XL-1 is the "16:9" Although balkenfrei in the correct pixel aspect ratio on, but with a corresponding loss of quality because s.Chip while only 432 lines are scanned vertically, which are extended further back in the Processing of 576 lines.
After applying the 16:9 pixel aspect ratio it becomes again a geometrically correct picture.

Technically, after the fixation with the XL-1 in the 16:9 mode synonymous "real" 16:9 signal on the tape, which can be treated appropriately than 16:9 signal to the cut programs / should. But from "normal" PAL 16:9 format, it is distinguished by the loss of resolution of 144 lines.

One could in principle work equally well in the 4:3-programmed later in the editing mode and a 16:9-making cropping, so you have even more flexibility when preparing the 16:9 screen. There remains the argument of who makes the full picture scaling better - the XL-1 or the editing program.

Marco




Antworten zu ähnlichen Fragen:
Canon XL1 und XM1
EOS-Objektiv an XL1: auch mit VL-EX-adapter?
100 milestone films in the art and craft of cinematography of the 20th century
Extremely Wicked, Shockingly Evil and Vile - Trailer
Metadata Tool ( Panasonic G series, Nikon, Canon and Fuji) für Resolve
RED MINI-MAG - Things you only thought you knew. Inside view, and RED SSD firmware
Ronin-S Firmware Update Ronin-S: ActiveTrack 3.0 and Force Mobile
Why are TV Cameras still HUGE and expensive ?
I Made My Own Image Sensor! (And Digital Camera)
The most satisfying and useless Video on YT
Resolve Candle Benchmark tables and charts (links)
Hollywood Gaffer explains Lighting Filters and Diffusion || Julian White
RED Solitary Series - youtube Videos - Resolution und REDCODE and 8K Workflow
WEST BERLIN A CITY TO LIVE AND WORK IN 1980s
ProRes RAW support für Olympus OM-D E-M1X and OM-D E-M1 Mark III
The Life and Death of 3D
Resolve 16.3 Beta 3 and RAW 2.0 Beta 3 verfügbar
Sharp 8K Micro Four Thirds Camera – Prototype First Look and Interview
Dialogue Levels and Dynamic Range (Netflix)
Help! LUMIX S5, Ninja V and RIBBON HDMI cable...
First rumored Panasonic S1H II specs: 8k24p and built-in ND
SCIENTIFIC & TECHNICAL AWARDS 2021 der Academy of Motion Picture Arts and Science
Phantastische Animation zu Mac Millers „Colors and Shapes"
Fujifilm GFX100S and Fujifilm GFX100, get Blackmagic RAW support.
Panasonic Unveils 35MP Organic Super35 CMOS Sensor with Global Shutter and Great Dynamic Range
The 7 most extreme and bizarre lenses I've ever tested

















weitere Themen:
Spezialthemen


16:9
AI
ARD
AVCHD
AVI
Adobe After Effects
Adobe Premiere Pro
After effects
Apple Final Cut Pro
Audio
Avid
Avid Media Composer
Cam
Camcorder
Camera
Canon
Capture
Capturing
Clip
EOS
Editing
Effect
Error
Export
File
Files
Film
Final Cut
Format
Formate
HDR
Import
JVC
Layer
Light
MAGIX video deLuxe
Magix
Microphone
Monitor
Movie
PC
Panasonic
Pinnacle
Pinnacle Studio
Player
Premiere
RAM
RED
Recording
Red
Software
Sony
Sound
Studio
TV
Tape
Video
Videos