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Video from a bunch of different formats. Optimal Transfers….
I’m finishing a feature doc, and was looking for some different formats. The final format will be 720×480 Anamorphic which we’ll likely upconvert to HD. Most of the footage was shot with a DVX-100, 23.98 ADV pulldown, the sequence is in the same format. We have some pal footage (DV), and some Ntsc 29.97 footage.
I am looking at a variety of different ways to conform all the footage to 23.98 NTSC. I’ve heard good thing about the nattress filter, but I’m also curious about all the new settings in Compressor 2.0 has anyone played with these? Also I’ve heard good things about shake 4’s optical flow stuff (I should be able to get access to a machine with shake).
Time isn’t 100 crucial right now, so anyone have any Ideas, war stories etc…?
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6 Replies
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I’ve never heard of anyone upconverting from SD to HD. Wouldn’t that look like junk? It’s the equivalent of upconverting a 320×240 web movie to SD. Plus you mentioned it’s anamorphic, which means you’re going to blow it up even more to a16:9 ratio instead of having a 4:3 with black bars on the left and right.
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I’ve never heard of anyone upconverting from SD to HD. Wouldn’t that look like junk?
=====It should be about the same as watching an old “Seinfeld” re-run on an HDTV set, which I imagine lots of people do. Anyone who owns an HD set must be used to watching lots of SD footage that’s blown up to fit their screen.
You’re right that being anamorphic takes a bit more away from it, but overall I’d imagine it will produce a look that people with HD sets are used to seeing at some point or another. There’s a lot of SD footage out there. Once everyone buys an HD set we’ll all be seeing this look a lot.
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TONS of people blow SD up to HD. In fact, I was at an HD expo at the Directors Guild of America, where Canon showed the audience footage from the Canon XL2 that was blown up to D5. It looked surprisingly well.It only fell apart when it did a long dolly move wher some strobing occurred.
[Bret Williams] “you mentioned it’s anamorphic, which means you’re going to blow it up even more to a16:9 ratio instead of having a 4:3 with black bars on the left and right.”
If it is true anamorphic, then it is already 16×9 and not 4×3 with bars. I know the XL2 has 16×9 CCDs and is true anamorphic…unfortunately the DVX doesn’t shoot true 16×9…
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I’ve seen a bunch of HD uprezed with the Tyrenex (sp?) and it looks amazing. But that aside before all that I need to get everything into my 4:3 letterboxed timeline, and get all the motion to look right.
The workflow to HD I’ve got figured out, have done it before, and it has looked surprisingly good.
It’s the Pal 25i -> NTSC 23.98p and even the NTSC 29.97i -> 23.98p that I’m trying to figure out at the moment.
-Joseph Mastantuono
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I guess my question would be WHY do people up rez to HD? I realize that HD sets playback SD all the time. I’ve seen it and it looks like crap. Especially on earlier sets. Looks like a lot of pixel doubling.
Is it better to uprez it with FCP so the set doesn’t have to do it?
If the sets have to do this all the time and it’s a look people are used to (they play 16:9 SD DVDs all the time) then why do it? Why not just burn a 16:9 SD DVD and play it back on HD system just like everything else.
I guess I was thinking you were going to shoot SD, blow it up to HD and pass it off as HD material. I can’t see any other reason to blow it up. There’s no way to actually add quality by doing so.
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You haven’t seen a Teranex (Proper spelling found) transfer. Projected at a festival digibeat or any SD format you *WILL* pixelization. And most festivals don’t accept anamorphic digibetas.
Teranex’s use Adaptive scalers, and do it in real time, and (I’m sure there’s cheaper software solutions out there, like Algolith I hear). But if you’re projecting, at a festival, it’s a necessity. Even an Upres from the Kona card is preferable to projecting SD.
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