This is something I’ve been working on for quite a while, but I’ve realised that there are too many new things on the horizon which will take up my time (and my computers’ CPU cycles) so I’ve decided to release it as a draft rather than sitting on it until "perfect".

While there’s still some editing and motion tweaking to be done, this piece is rather time consuming to preview and render. As the action speeds up it is blending many high resolution images together for each frame.

The video compresses around 10 hours of stencil cutting into 4 minutes. Shot with the same Pentax *ist DS as my previous time lapse efforts, the camera takes around 35 frames per minute at 1536×1024. This gives plenty of leeway for pan and scan in post production if outputting to SD or lower resolutions.

This method of shooting allows a very high quality look, with minimal expenditure. I had some problems with this camera’s viewfinder focus and auto-aperture function recently, the repair quote was AU$300, while a new K100D (the new version of the *ist) is under AU$600 including a lens. With prices for digital SLRs getting this low, a proper SLR version of the ghetto timeslice rig can’t be too far away.

After my last slow motion tests with my Sony HVR-V1P, CDMo reader FANF gave me some quick tips on how to run a resolution test.

Now here is a little protocol for definition testing: Get his first: http://www.graphics.cornell.edu/~westin/misc/ISO_12233-reschart.pdf
Print it 350 dpi min, 600 recommended.

Place it in a well lit spot, in the sun for example, fixed to the wall. Use a spirit level. Place your camera with the optical axis perpendicular to the plane of the testchart (measure hight, use spirit level).
You should not see the white triangles on the underscanned image. No white triangle pointing into the image, the black triangles should ideally be pointing to the perfect edge of the screen.

To test the resolution/definition on the full breadth of the lens, do a test at wide angle, mid, and full tele, placing camera/testchart at the right distance for the scale to be right.
It would be equally important to test each focal at iris values 1.6, 2.8, 4, 5.6, 8, 11 to have a good idea of how definition rises and falls when you stop down.
To do this, use the “aperture prioriy” or “Av” program mode on your camera for correct exposure.

The definition of your camera, horizontal & vertical being distinct, is read by following the lines along the higher numbers ; the number where you cannot distinguish them from one another is your definition, in n x 100 lines. (Make sure you zoom into digitalised footage to measure the image, and not your screen !)

Now I have to admit that I didn’t quite go through with all of the different angles and apertures, and I’m not entirely certain that the resolution chart was printed to the correct size, but it doesn’t matter, as the difference between different shooting modes is obvious, even without meticulous shooting and calibration.

The images created by this process are reasonably large (1920×1080 to be precise), so I’m going to offer some small crops to discuss, and then offer up the full size images for download and examination at the end of the piece, if the mood takes you.

First up, a couple of 1:1 crops taken from the uncompressed HDMI output of the camera. This is with no HDV compression, so apart from JPG compression for the web these are the pixels as seen by the sensor. Obviously the lighting is a little low, but you can see that the resolution goes down to around 800 lines before it starts getting difficult to distinguish. All of the numbers and markings are easy to distinguish, and there aren’t any hugely obvious compression artifacts.

Since my last little slow motion test I’ve had plenty of quality time with my HVR-V1P, and while I wish it had a slightly more memorable model name - or even that it was printed somewhere on the unit, so I can tell people what it is when asked - I’m having a great time with this camera, enjoying the capabilities HD resolution gives me, and still loving Sony’s Smooth Slow Record feature.

With the last batch of slow-mo clips I had some requests to further slow down the motion in post-processing. I don’t currently have any 3rd party retiming plugins, but it turns out that the 200FPS (240 for NTSC regions) is shot interlaced, so my previous tests were only displaying 100FPS progressive. To get the full motion from 200FPS on a progressive monitor I needed to slow the footage to 50% speed and de-interlace, a trivial task in any editor.

Butterfly Slow-Motion 200FPS

Even this low-tech retiming gives you an idea of how powerful 200FPS can be. I actually had an ND filter in place to keep the shutter speed relatively low and keep a bit of a dreamy look for this shoot (the minimum allowed, of course, being faster than 1/200). With full sunlight you’d have no trouble getting up past 1/1000, which would result in very little motion blur and allow very accurate motion tracking, and some exciting retiming opportunities.

200 frames per second: that’s the “smooth slow motion capture” speed of Sony’s rather affordable HVR-V1P HDV camera. It really makes slow-motion capture accessible to the rest of us. Jaymis has been testing this mode on his new camera. Here are some early results (all the more impressive if you watch through to the full-motion versions at the end):

Sony Smooth Slow Motion test from Jaymis and Vimeo.

Of course, I’m ready to go even slower, and see what happens if you edit the footage in Final Cut Studio 2 using the new slow motion options. Starting with 200 frames should help.

More on the HVR-V1P soon; consider this a teaser.

Previously: First Impressions: Sony HVR-V1P HDV Camera

After asking CDMo readers for advice and promising various parties that I’d never buy another Sony product, I walked into my local VideoPro with a definite plan of attack: Compare and contrast the Canon XH-A1 and Panasonic HVX-200, and then buy one of them.

What followed is still a little hazy in my mind, but it seems there was a sales guy who actually knew his stuff, listened to my requirements and was able to suggest an alternative which was not only better suited to my needs, but also considerably cheaper. That this alternative was a Sony - a brand I’d sworn never to purchase again - just adds to the confusion. I’m still trying to figure out what happened.

The XH-A1 and HVX-200 are both great cameras, they look good, feel good, and by most accounts shoot exceptional video, generally on par with each other’s performance. Why, then, did I walk out of there with an HVR-V1P?:

• Physically smaller and lighter
• 200FPS “Smooth Slow Record” slow motion mode
• Uncompressed HDMI output
• Good quality Sony shotgun mic included
• External battery bay (as opposed to the XH-A1’s internal one) which is compatible with Sony’s NP-F range, including the batteries I still have from my 10 year old DCR-TRV9.
• AU$1500-3000 cheaper than the Canon and Panasonic offerings

I haven’t had the time to really get to know this camera, but initial impressions are very positive.

Peter keeps pestering me to post this video, so here you go:

Red Iceblock Melting Outside Timelapse.

This was shot in my Pentax *ist DS, with an old, beat-up, 50mm F1.4 lens I picked up in Vietnam. The “intervalometer” in this case is even more ghetto than the electronics kit I put together a year ago. It’s a 2.5mm stereo mini jack with the cable release side soldered to ground. Plugging this in makes the camera think the shutter is held down constantly. Put the camera in “burst” shooting mode and it will happily fire off a frame every ~1.7 seconds until it runs out of battery or SD card space. Drop the resulting series of JPGs into a folder, import as footage into After Effects, resize, crop, done. Pretty timelapse.

The actual shooting of this was similarly simple: The popcicle stick was attached to the tripod of a dual-500W work light with a strong magnet. 1000W of lights are sitting just out of shot, accellerating the melting process.

Advantages of this method: This is a relatively cheap way to get extremely high quality source material. The resulting video is natively 3000×2000 pixels, and shot on a camera and lens which would cost well under US$1000.

Disadvantages: I’m not sure how much of this treatment the shutter of an SLR is designed to take. Fortunately Digi SLRs are generally more professional gear, so they should be able to take a reasonable amount of punishment, and plenty of professional shooters will snap off thousands of images in a day, they’re just not quite holding the shutter down constantly for 45 minutes. I’ve used the camera on probably 20-30 of these shoots, rolled over the shot counter several times, and haven’t seen any smoke or blue sparks yet, so hopefully it will continue to work out.

While we’re on the subject of animated pieces of paper: Switchfoot’s “Awakening” has been treated to a similar workflow (frames printed and photographed) with a very different result.

StudioDaily has an interview with Brandon Dickerson, on the workflow required to put this piece together.

Hello Internets! I’ve returned from gallivanting around the country and have a couple of weeks while we refuel and plan the next leg of the tour. One of the first tasks I’ve set myself is to get a better video camera, and was all set to pick up a Canon XH-A1 when I found out that it doesn’t have S-Video in or out. That cuts down my options a little for live visuals, as I wouldn’t be able to mix in this camera’s output without an expensive scan converter or going via Firewire, which introduces latency and creates cabling issues.

So now I’m in a quandry, and with that seed of doubt sewn, I’ve opened up to many possibilities: Sony’s HDR-FX1, Panasonic’s HVX series, or perhaps something compact and tapeless, like JVC’s Everio series.

I had a chat to Peter, who suggested that I ask you, dear reader. What are you using for your video capturing needs? Have you gone HD? Compact? Cheap? Expensive? Tapeless? What are you liking and disliking in today’s video cameras?