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2 of every 3 frames are doubled in both the original material and the transcoded ProRes material. Material is from the C100 shot progressive. * My edit: The C100 menu did not have a shutter speed that I could select that was below 1/24. I'm almost positive I chose 1/34 because a couple(?) of the others (1/24, 1/30, 1/40) caused flicker. I was shooting in a PAL region but the camera was set to NTSC. Can anyone explain why my comment is not viable? I think it has something to do (like Ben mentioned) with fitting slower refreshed shutter images (1/34) into a 23.976 frame rate... and since the 1/34 images are refreshing slower than the 1/48 images, every second image is 'doubled' so that it can keep up with the frame rate.

I mounted the original storage hard drive, and Media Info also indicates that the files are 23.976fps. I posted the attachment. The C100 menu did not have a shutter speed that I could select that was below 1/24. I'm almost positive I chose 1/34 because the others (1/24, 1/30, 1/40 were causing flicker. I was shooting in a PAL region but the camera was set to NTSC. I have other files from the same location that are shot at 23.976 1/48 and are just fine.

You bet amigo. The duplicate frame is there in the original AVCHD material played via Quicktime player. I'm scouring the net looking for the reason, I haven't found a succinct answer yet but I think it has something to do (like Ben mentioned) with fitting slower refreshed shutter images (1/34) into a 23.976 frame rate... and since the 1/34 images are refreshing slower than the 1/48 images, every second image is 'doubled' so that it can keep up with the frame rate. Yeah... that has to be it. Looking at these 1/34 shot clips, aside from some occasional motion blur, I wonder if anyone would notice that they were not shot at 1/48? I'm not sure that I would do this again but I really needed the extra light. Hats off folks... love this place.

Hi Adam, just imaging you have the file open in a NLE and you are going through the shot frame by frame. In every 3 frames, 2 are the same. These clips look fine but when a subject moves fast there is some small blur due to the slow shutter speed.

Hi Ben, I checked the original files and they were shot at 23.976 as can be seen in the attachment. I'm thinking @Andrew Reid could answer this in a flash. Andrew?

Actually Ben, come to think for it, I was using the C100 MkII and it doesn't do 48fps. Only 60fps.

Interesting Ben, I'm pretty sure I shooting at 23.976. Is this the only possible option?

I was shooting in a very dark place. I dropped the shutter speed from 1/48 sec to 1/38 (or 1/30 can't remember exactly). Now when I'm playing back the footage frame by frame, for every 3 frames, two are the same. Why?

Yep MTV Asia back in 2001. Hakaru was quite the star. I played the same song to Japanese expat friend and it made her heart ache and she weeped. Gosh. Also had a kitchen with a similar layout as the one featured in the clip so I made a copy featuring yours truly. Ugh But yeah... the English translations often come off as comedy... I also couldn't listen to some music if I understood the native language.

Yes but the Dandy's were finished after 3 albums... sugar coated pop. Anton, on the other hand, is a force of nature that makes global warming look like sissy stuff.

Somehow I could take the boring part if it meant world peace. Wait, let me think about that. Actually no, forget that. Long live The Brian Jonestown Massacre.

Right. I missed that and now see that is what webrunner was waving the flag for. I hear you partially on being able to pretty much enjoy any 'live' music. But this bluegrass stuff, somehow makes seems embarrassing for Western culture... whatever though. Going back quite a bit, this showed up on MTV Asia back in 2001 and grabbed my eye for it's simplicity... which I somehow found fresh. Or maybe it was the woman

Now now webrunner5, calm down, everyone here know what a good little soldier you are. But to answer your question I make doc films (that are in part sanctioned by my country) that help reflect the state of the world and in some cases... tie directly into the long ugly arm of American foreign policy meddling and the fallout. And it is here, in this space, that there is room for reflection on the best course forward... somehow more illuminating and progressive that being told what to do in a military barrack. Listen amigo, let's agree to disagree. I say bluegrass sucks. But grass that is blue(ish)... well that's a different story.

For clarification, I was speaking about Bluegrass music... not as you often try to frame things towards 'nationality.' Though here's the kicker sarg, that you'd open the heavily compressed Youtube link I posted and claim to not hear the million dollar sound design and capture suggests something of where you may be at technically... and maybe how much time you spent in the artillery battalion Carry on soldier...

Somehow that's not surprising to me my philistine friend. But truth be told, I much rather party (and ride a bicycle around the world ) with David than have to listen to and (God forbid) watch a bunch of okalie dokalie hillbilly bumpkins constantly try mount one another... but to each their own

The band spent 1 million of their own dollars to make sure the sound was captured correctly. Hard not to smile watching this... David was/ is a wonderful nut.

Possible further insight into the Canon's inner workings... Canon represented as the woman, Bill as the filmmaker:

That's for goddam sure Keep the GH5s and buy a Sigma 18-35mm. Although that lens is not stabilised, it is heavy enough that it will provide enough stability to the GH5s for handheld. Moreover, you will then have a fucking great cinematic lens and not a characterless native OIS lens. If your images are still too shakey, you are not breathing correctly. Practice.

Amen. Round and around this same tired conversation goes with folks wanting Canon dslrs to deliver what their C line does. Maybe Canon should set up some kind of therapy group for those who still think it's 2008.

Hey thanks Kai, my own Google searches came up blank. I'll give your 'de-flicker' suggestion a go and see what comes.

Hi folks, Like the title suggests, I've got the 'stepping' motor iris blues. No smooth iris adjustments. Is there a software cure... other than exposure keyframing (when sort of helps) these iris bumps?

Exactly. To me, docs are one of - if not the most - challenging genres to work in. Especially ones that drift across cultures and languages.

Oh I don't have to hope... I've got an explosive motherfucker that is going to get me blacklisted from my favourite country for all the right reasons But yes the nature of what I do is verite and so much of this depends on what happens spontaneously... and that can mean long rolls of footage. Thanks again for taking the time to lay out your process.

Seriously great post Kai... thank you! I'm deep into the edit on a sprawling doc film set in South Asia with close to a 1000 pages of translations and 17,000 clips I lensed and hundreds of other associated files. 4 main characters and 3 minor characters all with their own trajectories... and besides you guys, I'm entirely alone on this. It's been an absolutely massive undertaking. This is exactly how I'm working... so it's reassuring to hear that this is your approach too. For this doc film, I've stumbled upon a method where I place everything on timelines and work my way through them cutting out the fat and then building scenes as my characters get caught up in something interesting. I also colour code interesting scenes and shots so I can easily find them later and then will move towards organizing them in the months ahead. Some years ago I spent months key wording much of the project only to realize that, although this can be helpful to quickly find stuff, it might have actually been better to just lay stuff out on the timeline and work through it and build. It may not apply to you in the same way since it doesn't sound like you are following protagonists over longer periods but laying out each characters narrative trajectory is something that I'm going to be facing very soon. My approach will be to find the most powerful (emotional) moments for all of the characters and place them on the timeline at (what might be) the climactic 85% part of the timeline and then build everything towards these moments. This is really the nuts and bolts of story... I know from attending some festival masterclass talks that this stuff can be talked about in a broad sense, but the real heavy lifting takes months (if not years) into a doc film between the director, editor, story consultant and producer. @BTM_Pix Thanks for the links, I founds these a few months ago... there is really so very little out there (blind spot as Kai says) on the web about how to do this stuff. @hk908 I tried the Freeform View and found it of little use... but it might prove helpful down the road... I sort of doubt it. I like what you've said about maintaining a 'high-level' view over the project... all to often it can be daunting to see the forrest through the trees so one really has to step back and try to envision where things can and should go. Notice the coincidences and trust that, if you are keeping a level head, all will be revealed as you work into things. Trust the process Kai and at the same time try and include people you can trust to lend their insights, even if they don't work on these types of projects. And finally, if it give you goose bumps... you are on the right track!

As I understand things, WDR retains just as much DR as CLog. It's what I've always used on the C100MkII.