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Kamaljeet, if you haven’t already, be sure to check out the Camcorders Buyer’s Guide December issue, pay attention to author Marshall Rosenthal when he gets to the intermediate cameras where he mentions 24p. One of the cameras mentioned should fulfill what you are looking for. But to really get you shopping, try the .pdf at the end of the article, it’ll have the grid for camcorders. Another one that you won’t find in that article I know for a fact has slow motion and is fun to play with is the JVC GC-PX10.http://www.videomaker.com/article/15573/
Remember to budget for items that will really make video fun – of course this all depends on what you intend to do with your video, but,equipment such as a tripod, case/bag, lights, and mics/recorders should be heavily considered for anything other than home movies.
Here’s another great place to start,
Though a bit old, principles still apply for buying advice,http://www.videomaker.com/article/12265/
Thank you for checking in here, hopefully we’ll be able to help you again here at Videomaker and our forums.birdcatParticipant
You still haven’t given a number but I figure a Red Epic is out of the question. I will assume high end consumer or prosumer will be sufficient.
A good place for you to start is the VideoMaker camcorder guide: http://www.videomaker.com/grid/camcorders/
What I have told folks in the past is:
1) Identify your absolute maximum budget
2) Make lists of your “gotta have” features, “like to have” features and “don’t care” features
3) Based on 1 & 2, identify five cameras in your price range that have the most “gotta have” features – “like to have” features should be used for tie breakers
4) With your list of possible cameras, go to a camera store where you can actually handle the choices and get an idea for how they feel in your hands.
5) Pick two of those based on #4 and do extensive research on them.
This isn’t perfect but will probably give you a good choice for you.
Features I would consider gotta haves are:
Optical Image Stabilization
Manual Focus Capability
Manual Exposure Capability
Some type of HD (1080i, 1080p, 720p)
Larger (1/3″ or better) Imagers
Remote Control Capable (Lanc or other)
Decent Optical Zoom (10x or better)
Like to haves:
Hard Drive or Flash Memory Based
External Inputs for Audio/Video
XLR Mic Input(s)
OK this would normally not be so difficult but in this case, it is.
I have a household camera – Canon Zr500. Picked it up cause it was the only small camcorder I could find with an external mic port.
I also have a Raynox HD-5000Pro wide angle lens. It comes with a bunch of adapter rings and it fit on several previous home camcorders I had before this except for my current Zr500.
You would think Canon would know what the lens size is but noone there could tell me what the lens size is.
In one case where I needed the wide angle, I resorted to cutting the carboard center from a toilet paper roll and modifying it to hold the lense to the camera with some tape.
I’ve posted some pics here so you can see what were up against.
could anyone suggest how I could mate these two together? Is there any other type of adapter, besides a ring that would hold them together?D0nParticipant
lighting: look for a fairly bright, halogen light that you can attach a gridded reflector and barndoors to. place a pool of light on the speaker at the podium. try to balance that to thier projector brightness if possible….. (cost as little as fifty dollars if you are handy and mod a worklight)
sound: even a cheap peavy pv6 usb sound board will let you plug in the ‘House’ mic and another mic for ambient (i use a second camcorder with shotgun mic to caputre ambient and speaker)and let you mix or balance the two, and run a line out to the ‘House’ sound system, and also direct line in’s to your camcorders mic inputs… the usb out from the peavy can plug into thier laptops and capture audio from thier powerpoint/keynotes if they have sound…. (also usb can be used directly to your laptop for direct recording (audacity works for me). also if you have a laptop with firewire you can record directly to harddrive….. no need to change tapes.). (cost 150.00 peavy sound board, another 30-100 in cables and adaptors, if they got mics, if not add the costs of any mics you need (even a cheap mic will work for ambient sound, you only need applause/booing)
set the projectors to ‘Movie’ mode for a warmer color balance, (and/or if needed you can add a blue gel to your light to color balance but that is a little more complicated needing proper ctb gels)
just don’t feed your ambient mic back into the house sound system or you’ll get feedback noise…November 24, 2006 at 7:24 PM #170293AnonymousInactive
Video is 30 frames per second, period. This means 60 fields per second. (NTSC of course). The 29.97 fps is (more or less) the way timecode labels each frame. Actuality, there is a frame that gets dropped every so often, but they are far apart and no one every actually sees when it happens.
When video gets deinterlaced, an option is sometimes presented as to which field to remove, odd or even? If odd is removed, then 224466 will be the correct drawing method used. The first even line will replace the first odd line, then the first even line is drawn again where it should be. 22 instead of 12. 44 instead of 34, and so on. Thus the loss in resolution.
Converting to progressive won’t change the image shift between odd and even fields. Instead of drawing all the odd and then all the even, it will draw 1 odd then 1 even, then the next odd then the next even. If you could freeze 1 frame of interlaced video and the same frame of converted to progressive, they would look identical. The only difference is the order in which they are drawn. The only real way to get progressive video is to film it that way. This means using a camera that uses progressive image scanning. As like a tv, a video camera utilizes the same method when seeing the image. Behind the camera lens is an image sensor which is basically a grid of light sensitive pixels. In order to save the info onto tape, there must be some type of scanning. If you fish through your camcorders settings, you’ll find the framerate control. This can be set fron 1/30 to 1/4000. Some cameras have a bigger range. This is the actual scan rate. Now don’t think that 1/4000 means 4000 frames per second. It scans at 4000 frames per second but only stores onto tape 1/30. Why? For fast moving action, 4000 will create a very sharp and non-blurred image versus 1/30. Sure, 3999 scans get lost and playback does look a bit choppy, but even with interlaced video, you’ll never see the interlaced lines. Some may even argue that it tends to represent film since film displays 24 fps and there are no line to draw. Just the whole image. Experiment and you’ll see. By the way, you need alot of light at that framerate.
Technology is advancing so fast its tough to keep up. TVs of the future will probably all be progressive scan. Planning for it now is good, but understanding the difference is more important. Once your content is on tape, not much can be done to change it. Conversions work mostly for display purposes only. They really don’t change the content itself. Thats why DVD players usually have options. Until the format is standardized, users have the options to select what’s best for them. It really comes down to trial and error. Now that you have a more than basic understanding of this, experiment with it. You will ALWAYS remember what you’ve done versus reading what others have done!