OK...got answers re: the camera itself...via phone call to someone...
Only thing left is how cs3 handles this as dv ntsc on export with still images that have square pixels...animated scale/position type stuff.
?? would capture mini dv tapes using scenealizer (sp?) ( sclive )- to avi type 2...
I have cineform neoscene too if thats better for working with the stuff in cs3 ?
The xl2 is a standard definition camera and records in DV. Just like all SD tape camera's.
Premiere will handle the dv footage just fine
Capture with CS3 (firewire) . It automatically captures to type 2
No need for Scenalyzer or Cineform (which you cannot use with dv footage)
The camera records anamorphic widescreen which means it cuts the top and bottom off and stretches it to 4:3. Premiere will correct that on the timeline.
Still images will have square pixels. Easy to fix in e.g. Photoshop. Or when importing into Premiere it automatically is set to widescreen.
For better export quality to dvd (mpeg2-dvd) you could consider frameserving.
thanks Ann, re: the camera stuff I kinda got that info with phone call I think... it shoots 16:9 at 1.2 and 4:3 at .9..and you get the black bars on top bottom for the widescreen ( letterboxed )... which is ok with me for my project.
They also said the 24p and 30p is kinda lame, so I'll stick with the 60i. ( 30fps interlaced ).
lenses are decent apparently and low light situations is iffy but better than prosumer stuff.
thanks for frameserver info..is what I figured due to stuff I've heard over the years here...but frameserve to what ? I dont have sorenson squeeze... I guess I have to go back and look at Jeff's tutorials etc. when I get to that point.
on broadcast you get some of that analog blanking ( due to this place doing analog ) but thats OK too.. just have to watch my safety frame.
thanks again ...I'll do a test and all that before I get crazy with the still images with 1.0 par and frameserver...of course.. and maybe use a public access channel to actually " look " at the test broadcasted ...when I get to that point...
the camera does have about 3 looks you can program ...but I know from experience that some cameras like 56K better than 32K and all this is sorta test and trial and error sometimes ( regardless rec 709 etc and scopes )... you have any suggestion what it seems to like the most ? probably 56k...
Along the lines of Ann's suggestion, I saw a slate, that had an 18% gray surface on the back, along with a step-wedge. Cannot recall who had that (B&H?), but will see if I can find it for you.
Sounds like you're gonna' have some fun.
Just remember, do not take THAT camera into your pool.
yes, 56k daylight...got flourescents ( like kino flo ) in studio that are daylight..can do balance OK...got grey card and ramp ( color ) etc..
should be OK...have to do test with frameserver export at some point...maybe soon..just get sample mini dv and take home and see whats up...
thank you both...