-
64-940 for 10 bit SD unccompressed?
Greetings,
I am new to this forum, so forgive me “greeness” until I learn the ropes.
Background:
I am a shooter and usually sit in on DaVinci settings. I have my own setup and am helping a documentary filmmaker friend of mine to re-master and grade his circa 1980’s project.
I have a Quicktime 10bit uncompressed file from the 1″ type C TAPeE (yes remember that stuff???)
It is a standard 720×486 which I imported into DaVinci Resolve 8.2, ran a SCENE DETECTION and created a solid master project.
The finished products will be DVD, BD and a Streamable File. I will be scaling it up to 1080P at 30fps..
Question:
Should I be grading with black at 64 and peak white at 940 or can I use the full range? The material is probably 601, is that correct? Should I output 709? Any guidance will be much appreciated! Anything LUTS, words and criticisms!
Thank you in advance!
David Jean Schweitzer
-
4 Replies
-
Type C. Hmmm…. analog composite. Just out of curiosity, Sony or Ampex… or… Hitachi?
That you have a 10-bit uncompressed file is probably wasted space, considering the original.
It would just be my approach, but… first impulse would have been to digitize ProRes4:2:2 uprez to 1080 on intake. Also, was the original anamorphic and/or is there a 4:3/16:9 aspect letter/pillarbox issue as well?
Your 709/601 and frame dominance issues would go away, but now you are going to have to deal with them. Usually software scaling is not that fabulous. By any chance is there 2:3 cadence involved? (Is the original project film-based (24fps) or original 29.97?)1080P29.97 is going to require you to do a very high quality de-interlace if you don’t want a lot of motion artifacts. And if there was 2:3, then about half your events are going to occur on field 2. Which, I’m not sure you can do in Resolve…. ??? We used to have a “:” button in Renaissance to deal with that.
But getting to scalars, which is almost a non-issue compared to everything else, 64-940 / 0-1023 is probably irrelevant, since the project was never RGB and is now broadcast scale whether you like it or not… and was the ‘setup 7.5 IRE’ taken out? You should be grading in its native scale. I really don’t understand the compulsion to try to push things into xeno-space and then flail around re-calibrating and compensating for the dislocation. << I would like to do this project in French for English delivery, even though it originated in Spanish, so now I need to translate it three ways….>>> because…..????
jPo
You mean “Old Ben”? Ben Kenobi?
-
I am pretty certain it was on a Sony deck. I didn’t order the capture so had no control of the CODEC.The original is 4:3 and we decided on a partial “pillar” to approx 1.66:1 give or take.
I ran the footage through JES to de-interlace and it did a pretty good job of it. The original was 16mm and was shot @ 24fps so 2:3 pull down is present.
I think the 7.5 IRE is preserved but can’t tell thru Resolve as I don’t know how to set the scale to IRE 🙁
As far as a pre-pass to scale up to 1080, well that would be difficult as there are some lower thirds that will get cropped out. To deal with this I have a lower third setting in FORMAT to tilt the image to re-frame the title.
Joseph, I really appreciate you getting back to me on this. Any suggestions for this “newbie” well what can I say, “thanks” and it’s great kharma, haha!
David
-
[David Schweitzer] “The original was 16mm and was shot @ 24fps so 2:3 pull down is present.”
How long is the show? The interlaced field boundaries will make some corrections “pop” if you can’t set the proper field for the correction to kick in. If the project is short enough, it would be tempting to try to get back to a 23.98 frame base. There are advantages – lower bit rate for streaming, fewer frames, true progressive….
jPo
You mean “Old Ben”? Ben Kenobi?
-
It’s a 1 hour doc. Got stay in 29.97.
Reply to this Discussion! Login or Sign Up