canon xl2 on workprinter or telecine projector?

[ericMartinJarvies]

has anyone used a 24p camcorder on the workprinter or a modified telecine projector? if so, i would like ot hear about it. i am considering purchasing the xl2 for this purpose, but would like to hear some feedback.

eric

[MovieStuff]

has anyone used a 24p camcorder on the workprinter or a modified telecine projector? if so, i would like ot hear about it. i am considering purchasing the xl2 for this purpose, but would like to hear some feedback.

eric

You could save some money and just get the older XL1. The use of progressive scan has no advantage when copying frame by frame. Even though the camera is interlaced, nothing moves between one field scan and the next. I would be very surprised if you could tell the difference between a frame copied interlaced with the XL1 and a frame copied progressive scan with the XL2.

Roger

[ericMartinJarvies]

assuming the goal was REALTIME transfer of the filmstock, would the xl2 24p and a projector running 24fps lock up correctly and provide a good transfer? would the projector have to have a shutter/5 blade? i am not very familier with projectors, and do not know if they run a true 24fps. i have a couple of 24fps sync motors for cameras, and thought it may be viable to use on of these with a projector/film transport system, along with the 24p camera, to perform realtime transfers. what is ideal about the xl2, aside from the 24pfps, is the interchangable lens system, thus allowing a bellowed high res macro lens for optium image quality.

eric

[Justin Lovell]

don't buy an xl1

if anything go with a sony pd-150...

after shooting many docs and editing with both of the 2 cameras, the image quality of the sony is far superior.

good luck,

jusetan.

(not familliar with the xl2 or the pd-170 or the newer sony model though)

[avortex]

I second jusetan. Sony models pd150 or vx2000 are far superior in terms of image quality than XL1.

And if you're looking to shoot real 24p, the Panasonic DVX100 gives a less sharper picture than the XL2, but much more pleasant and filmic.

[Justin Lovell]

i've heard and dealt first hand with the panasonic. If lit well, looks great but the one flaw i've had with the camera is that it does a strange 4:1 pulldown and interlaces the frame in a strange manner.

i've not operated the camera, only worked with the footage from one, maybe there is a setting?

FYI, almost all pro-sumer cameras and some broadcast cameras may say that they are shooting progressive but in fact they are still shooting interlaced but are doing a conversion to progressive before the film hits the tape. sneaky, sneaky, sneaky. you could probably just do it yourself in post if you have the know how.

jusetan

[mattias]

assuming the goal was REALTIME transfer of the filmstock, would the xl2 24p and a projector running 24fps lock up correctly and provide a good transfer?

yes. assuming that the projector really ran at exactly 23.976 fps which i believe is the frame rate of the xl2.

would the projector have to have a shutter/5 blade?

no. any number of blades will do, although one blade would suffice and also make sure you don't get frame blending.

/matt

[Godzilla]

I've been transfering film to 24p video on a DVX100 at work. We do all of the motion picture film transfer for Qualex.

We figured out how to do good realtime film transfer out of necessity because of the need to transfer 16mm sound film. If you put the camera in 24p mode and set the synchro scan to 1/72 of a second, you get a great flicker free image at 24fps. There's a slightly weird strobe effect with motion, but that's somewhat true to the look of the film. Transfering at 60i still looks smoother when possible.

Also with the 24p camera, you can transfer at 18fps with a flicker free image if you set the syncho scan to 1/54. This is really useful for transfering old super8 sound film. It looks really good too.

[ericMartinJarvies]

I've been transfering film to 24p video on a DVX100 at work. We do all of the motion picture film transfer for Qualex.

We figured out how to do good realtime film transfer out of necessity because of the need to transfer 16mm sound film. If you put the camera in 24p mode and set the synchro scan to 1/72 of a second, you get a great flicker free image at 24fps. There's a slightly weird strobe effect with motion, but that's somewhat true to the look of the film. Transfering at 60i still looks smoother when possible.

Also with the 24p camera, you can transfer at 18fps with a flicker free image if you set the syncho scan to 1/54. This is really useful for transfering old super8 sound film. It looks really good too.

the 'syncro scan' is a camera setting or a projector setting? i do not have the camera, so i am uncertain which one you are referring to when mentioning syncro scan please advise.

thanks,

eric

[ericMartinJarvies]

I've been transfering film to 24p video on a DVX100 at work. We do all of the motion picture film transfer for Qualex.

We figured out how to do good realtime film transfer out of necessity because of the need to transfer 16mm sound film. If you put the camera in 24p mode and set the synchro scan to 1/72 of a second, you get a great flicker free image at 24fps. There's a slightly weird strobe effect with motion, but that's somewhat true to the look of the film. Transfering at 60i still looks smoother when possible.

Also with the 24p camera, you can transfer at 18fps with a flicker free image if you set the syncho scan to 1/54. This is really useful for transfering old super8 sound film. It looks really good too.

the 'syncro scan' is a camera setting or a projector setting? i do not have the camera, so i am uncertain which one you are referring to when mentioning syncro scan please advise.

thanks,

eric