25p official topic, aka Don't cry for me Argentina

blues

i have been posting my confusion but nobody seems to answer me with a straight answer and I am a little frustrated, here it is again[ if i was an ntsc user in a pal world can I load the ptoool of the stalin hack and check the pal>ntsc and expect to get a 1080/24p recorded in ntsc and that means in 60i or is it still in 50i? I need to mix my gh1 ntsc clips with my gh2 pal on a stalin hack with pal>ntsc checked? thanks

Mihuel

Does Panasonic anywhere written that GH2 has 25p? Does Panasonic 25p promised in GH2? No. Panasonic instutucją to make money and if he can do it with less-to do it:). I love the term Panasonic by Vitaliy as a drunken whore who, in a motel the next child is doing, forgetting the previous one. Was not surprising that the GH2 with 23.97 p is available in the PAL and U.S. is very difficult for him?
As I wrote earlier, the only regret we have for ourselves because no one has given us 100% certainty that GH2 will have 25p.

belfryman

Yes, only 25p would have made the rubbish GH2 worth picking up and I shall dutifully blame myself for the purchase for ever more. Er, not. I love the camera, but, as the whole topic illustrates, a lot of us are miffed that, for whatever reason, Panasonic didn’t include 1080p25 in the first place and it sounds like it’s not easy to rectify that mistake, so that’s a bit of disappointing news!

Mihuel

I live in a PAL country and I bought GH2, knowing that there is 25p. If someone bought GH2 only because they believed that the brilliant Vitaliy make this miracle for himself is to blame. GH2 is a great camera, worth every penny issued. By Vitaliy will be even better and wait in tears by the time the leader of the congregation did not give us any hope now:).

Matt

What about a 720p25 mode? Like the GH13's option of encoding every other frame of its 720p50 mode. That way you could have really good bit rates, 25p, and more resolution than Canon DSLRS.

Mark_the_Harp

@belfryman Rats - I was going to offer you £50 for it!!!

Hey I know what you mean about the eyes. Peaking would be good!

belfryman

I love mine too! Anyway, back on topic...!

belfryman

Wasn't totally serious on selling the GH2, I need the live HDMI till they do a patch for my 50 year old eyes!

Mark_the_Harp

@belfryman I'm sure there will be plenty of takers. It's a great camera (and I'm in PAL-land and have two 50i camcorders to match with the GH2). Bummer that it's looking like 25p won't happen. I guess it depends what you want to do with it. I've happily used 1080 50i and it's OK. I wish it was better at keeping sync, but certainly the ability to shoot in low light and the tapeless workflow means I'm still very much in love with mine and since Dec 2010 when I bought it I've never regretted that decision.

belfryman

Oh poops, had held off buying GH2 cos need 25p then just sold my GH1 and bought GH2 thinking 25p was about to roll out thanks to the fine work of Mr V. Anyone want to buy a GH2?

Ian_T

@itsguy:

>>If you have only ever tasted instant coffee or seen fake diamonds then you wouldn't know there was any difference either, but that would hardly mean there was no difference.<<<br />

This is a a true statement and exactly the point I was making.

But I don't want to belittle the need for 25p in PAL country. I would be crying out if I lived outside of NTSC land also. I have no idea why Panasonic went this route. We've seen Canon do the same thing with the 5Dll only to turn right around after a big public outcry. Hopefull Panasonic will see the error of their ways and finally listen to consumers. Then again.........

stolpis100

@_gl wow, thanks so much for checking those out those speeds. On the back of these findings I think I may take the plunge and pick one up next week and then hold out to see how high the bitrate can get. Thanks again!

_gl

Yep, UK/PAL. Just tested it up to 1/4000, with a white sheet of paper under incandescent lighting (halogen @ mains freq) and a high-frequency driven fluorescent tube:

24p: 1/25, 1/50, 1/100 are the only good ones.

50i is interesting:
- you do get a 1/25 & 1/30 shutter options - strange, why?? I can understand 1/25 as it just effectively halves the framerate to give you 1/25p - but why 1/30?

- anyway all speeds between 1/25 and 1/100 are fine.

With incandescent:

- most speeds up to 1/320 are fine, although I can see very slight selective darkening on some of the higher speeds (but it's so subtle you'd never notice it on a normal shot)
- past 1/320 you get clear darkening, possibly from the rolling shutter

With the high-frequency fluorescent tube however:

- from 1/125 onwards you start seeing a rolling bar that gets worse as the speed goes up.

So that's another problem, not all lighting is driven directly at mains frequency.

Anyway, running at a mains-frequency multiple frame rate (or a cleanly divisible one like 25p) does gives you more shutter speeds to choose from - so another good reason for 25p.

stolpis100

@_gl are you based in 'PAL-land'? Would definitely be very interesting if you do get a moment to compare the different shutter speeds. Maybe the camera monitor refreshes at it's own unique rate which doesn't directly correspond to the resulting footage?

_gl

@stolpis100, I haven't really shot 50i beyond short tests, but I see pulsing on the camera monitor in all shutter speeds except 1/50 & 1/100. If I get time I'll check out recorded footage, but I'm sure someone here has already done that?

Itsguy

@alcomposer - thanks for putting me right on the HyperShuttle, pity!

@Ian_T - I take your point, but it's something of a truism to say that they won't see the difference if they have only seen one version. If you have only ever tasted instant coffee or seen fake diamonds then you wouldn't know there was any difference either, but that would hardly mean there was no difference. I want my viewers to get a particular emotion, and when I watch someone else's film, I want to feel what they intended too. It's not too much to ask, and again, 'indistinguishable' is simply too big a claim. How are we to persuade Panasonic to make a GH3 with 1080p25 if people at the sharp end keep repeating that it doesn't really matter? This is why I say it's unhelpful, even if it weren't for the deal-breaking issues of mixed multi-camera shoots, music videos and strobing lighting.

_gl

> You notice even in _gl's experience he only noticed Frazier's voice difference "after" he watched an interview with Chesley Gramer (sp).

You weren't paying attention, I noticed as soon as I saw a US rate version of the show, and it wasn't just the pitch but also the speed of conversation.

But you're right, most people won't notice, and as I keep saying it depends on what you shoot - but if you shoot a high-quality movie with music and lots of careful emotional staging (through both visual, post/grading and audio), you want it to be perfect _before_ it gets mangled. Every damaging compromise adds up, and sooner or later that lack of overall quality or care will come across to Joe consumer, even if he/she can't tell you what exactly the problems are. Or to put it another way, they simply will not feel how you wanted them to feel, so you've damaged your own project.

I could equally say, Joe Consumer will never tell the difference between 24mbps, or anything higher - and yet we still care about getting a higher bitrate from the hack. So if you're here because you'd like to see these improvements, just deal with the fact that some people want 25p in the same vein and move on.

alcomposer

Anybody watch the 'editing doco' VK put up... ??? FANTASTIC quote from James Cameron:

James:
"Hey guys- Terminator 2 is running a bit long- and I like the edit- I don't want to touch it any more! Can we take out every 24th frame? Every second? That will make it 1/24 the total length shorter!!!"
Editor:
" "
James:
"Yeah lets do it"
Editor:
" cut cut cut cut cut"
James:
"wow, wow, what are those strange motion judders - and the strange timing - what's going on.!"

Anyway, not that this helps but love the doco VK! Good find!

alcomposer

@stolpis100

So basically either way we are 'sc@$ed'.

Not that I didn't know that- its just that one does forget that its 2011- and really once you capture something in the can- you want that to have some sort of bulletproofness... not fall down the minute you go from 25-24-25... :-(

Nice... Don't really know how much of an issue this 25p is in relation to the reality that if shot in 25p - going down to 24p is just as gnarly...

Ian_T

@itsguy:

I'm sorry to disagree...but "indistinguishable' is in the eyes of the beholder. You as the director will be more intimate with your product or 'baby." Being a musician I know too well about this. Just like the old adage "you are your own worst critic" in this case "you know your baby better than anyone else." But to the "outsider" or the average viewer they can care less. They would not know a 4% sped up footage from an original (in most cases IMO). They'll only notice if you do side by side comparisons (sort of like _gl's experience with Frazier). You notice even in _gl's experience he only noticed Frazier's voice difference "after" he watched an interview with Chesley Gramer (sp). If the show was pitch corrected (to sound like his real voice) he (_gl) might have continued to watch in ignorant bliss. :)

If someone messes with my baby...I'm gonna know better than the next guy. But the next guy wouldn't know a thing. Often times people "conform" to something new. Vitaliy (in another thread) posted a YouTube video documentary on video editing. You'll see Steven Spielberg (among others) in one excerpt commenting on "this generation" as opposed to "his generation" being used to quicker cuts and fast action etc. To the older generation it might be confusing...but to the "MTV" generation they loved it (or was used to it). Most of us here are technical folks...so we'll know when something is technically wrong. But I can't imagine most PAL viewers (non technical) can see the difference. I could be wrong though (that happens quite a bit) :)

stolpis100

@alcomposer I have 2 examples.

I made a low budget doc/movie. Was shot in the UK at 25 frames. It did quite well at a film festival, on the back of that it got released on DVD in some territories. In Canada, it received a 'demonic' conversion to NTSC along with a complimentary aspect ratio cockup. No cinema release however.

I recently made a commercial, was shot on a Red at 25p. This has subsequently been given a release in cinemas and I had to painstakingly retime every edit with the footage reinterpreted as 24p. Had I known it was destined for the cinema I would have shot 24p in the first place.

alcomposer

I know that this may not be the best place to put this: but this pertains to 1080p25 HDMI:

The Hyperdeck Shuttle only does:
720p50, 720p59.94, 720p60, 1080i50, 1080i59.94, 1080i60, 1080PsF23.98, 1080PsF24, 1080PsF25, 1080PsF29.97, 1080PsF30, 1080p23.98, 1080p24, 1080p25, 1080p29.97, 1080p30.

Sorry @Itsguy.. there is no 1080p50 (only i) :-( I wish it wasn't so... But for more robust HDMI- The Atomos Ninja is probably better- being in ProRes (so you can record without filling up a HD in 7 mins etc)... YMMV

alcomposer

I totally agree with @Itsguy
However- the only 'light at the end of the tunnel' is that even considering we NEVER get 25p- (which I believe 50p is som sort of solution) the Blu-Ray spec is VERY adept at 24p and web distributed content is only becoming more important. Also- can I get ANY info from people involved in low/no budget films which have to take into account small cinema release; web; blu-ray, & Pal TV? What sort of professional workflow occurs here? (Some demonic frame reinterpreting?) I doubt that when Pal TV shows Star Wars they simply speed it up? Or do they?

EH!

stolpis100

@_gl I was under the impression (well according to @madact explanantion on this thread a day or so ago) that provided you are running at either 25 or 50 frames 'if your shutter fires 25 (or 50) times a second, you can use any shutter speed you like, because it will always 'open' at the same point in the ripple and 'close' at the same point in the ripple.'

Have you come up against this not being the case in real world testing?

Itsguy

Some in this thread have claimed that it is 'impossible to tell' when footage has been conformed 24 to 25 by speeding up 104%. I'm afraid this is simply untrue and it's best to be clear on this point.

While using, for instance, Cinema Tools to conform to 25 and just letting the audio run at a higher pitch does product a very good quality conform requiring no interpolated frames, the result is very different from the original. I have made several professional films with a 24p web version and a 25p DVD version shot on GH2 - in this case the DVD was very much secondary. While you might get away with this, be warned the emotional tone is very different, and some scenes lost all their 'weight'. Fast talkers became quite comical and very unnatural. Re-pitching, as suggested above, sounded noticeably processed, and in some cases it was better just to let it run at a higher pitch.

None of this was at all satisfactory to me as a director. Please, let's hear no more of this 'indistinguishable' talk. With all due respect, could those that can't tell the difference please accept that others very much can and leave it at that, debating this issue is quite unhelpful.

In the meantime, 1080p50 via HDMI to a decklink HyperDeck shuttle??? That sounds like the grail at this point... Is there any chance of something like that?

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