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Apple acknowledges 720p capture bug (subclips) in FCP 5
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Ok Walt.
I hear you, but here is the deal. I own a Piep Studio as well and this is what is true for that product. When I cut anything in a DV timeline and then shoot it out to tape, the signal going to tape is a 10-bit uncopresed signal, I am sure that is how the KONA works as well. FCP hands the file to the capture board, anything going out the board has a minimum quality to it.
If I use the KONA 2 8 bit preset for DV then it’s 8 bit that is going to tape ( D-beta or beta) not DV. That DV signal is being encoded by the card to get to tape.
David
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[David Battistella] “When I cut anything in a DV timeline and then shoot it out to tape, the signal going to tape is a 10-bit uncopresed signal, I am sure that is how the KONA works as well.”
No, if you’re editing in a DV timeline, you’re adding all that wonderful DV compression to your titles and graphics. So there’s no difference in the quality of your final product whether you master to DV or to DigiBeta. So that’s not what I’m talking about and yes, you can do that right now with the Kona 2, edit in a DV timeline, but play out to tape in realtime.
I’m talking about editing DV footage in an uncompressed timeline and doing all of this in real-time, not rendering. By cutting in an Uncompressed timeline, you keep your titles, graphics and even color correction cleaner. This is what I could do two years ago on CineWave and it’s what is greatly missing today in the FCP lineup.
Walter Biscardi, Jr.
https://www.biscardicreative.com“The Rough Cut,” an original short film premiering December 7th in full High Definition in Atlanta.
rsvp@biscardicreative.com to reserve seats.
https://www.theroughcutmovie.comNow editing “Good Eats” in HD for the Food Network
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Walter,
Was Cinewave doing this as a hardware based solution with proprietary codecs? Could you do all of this with the Apple codec. I am not a former Cinewaver and I have never seen this up close.
It sounds like CInewave got caught in the “Apple RT engine” release of FCP. Cards with daughtercard processing like the Aurora Igniter, which was doing 24frame editing, RT color correction, RT downstream keying, and a short list of FX support by the card (remember the ICE borad) This all became redundant with Apple’s new plans for FCP with RT. (great for the DV user which makes up about 80% of FCP’s user base.
Even with the RT engine I am not sure that we are that close to seeing this kind of thing in RT in FCP soon because Apple has made it difficult to plan for non Apple based processing.
That said, I forgot to mention I’d like to see an improved titling interface in the next release. 🙂
Glad to know it went well last night. Would love to see it on the circuit.
David
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[David Battistella] “Was Cinewave doing this as a hardware based solution with proprietary codecs? Could you do all of this with the Apple codec. I am not a former Cinewaver and I have never seen this up close.”
All standard Apple codecs, no proprietary codecs except their own SD codecs if you wanted to use them, but you could use the standard Apple 8 and 10 bit codecs. DV, Lossless+alpha, etc…, all the same as you have on your FCP systems today.
[David Battistella] “It sounds like CInewave got caught in the “Apple RT engine” release of FCP.”
Actually, Pinnacle helped Apple with the RT Engine and took advantage of the RT Engine taking on some processing and that allowed the CineWave processor to take on the mixing of the codecs.
Walter Biscardi, Jr.
https://www.biscardicreative.com“The Rough Cut,” an original short film premiering December 7th in full High Definition in Atlanta.
rsvp@biscardicreative.com to reserve seats.
https://www.theroughcutmovie.comNow editing “Good Eats” in HD for the Food Network
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Walter Biscardi] “The thing that’s really funny to me is 720p / 25 works just fine in HD-SDI. “
Actually there are more than that Walter, all of the offspeed captures work correctly with the Kona, so any type of acquisition that is not based around the “native” time bases (those that capture over FW)
This is the one that confuses me, it works when it is the most complicated type of HDSDI capture not when it is the easiest.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
ditto here.
this is my main request. i source all kinds of media and RT kind of goes out the window.
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Walter,
Not going to argue with you ont he rendering issue with DV. Obviously, we all want to get out of the 4:1:1 space for rendering and GFX and titles etc.
So the way I am understanding this is this way.
1. You drop any DV clip into a 8 bit timeline on a cinewave system and it is realtime in that sequence.
2. You are now operating in the 8 bit UC colorspace so the DV is not going to loose anything.
3. You add a Title or RT FX and it is 8bit UC
4. You render the sequence and it is 8 Bit UC
5. Cinewave did not have a hardware proprietary way of doing this?Why does this not just exist in FCP now then? It had to be a hardware only solution requiring on-board daughtercard processing. I am not saying this would not be a nice feature, but is it really likely?
David
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[David Battistella] “5. Cinewave did not have a hardware proprietary way of doing this?”
Yes CineWave did have a hardware proprietary way of doing this, it was a processor on the CineWave card. Kind of like how Motion uses the Graphics card to run intensive operations.
[David Battistella] “I am not saying this would not be a nice feature, but is it really likely?”
If FCP wants to remain a viable competitor to AVID, yes it better be likely.
Walter Biscardi, Jr.
https://www.biscardicreative.com“The Rough Cut,” an original short film premiering December 7th in full High Definition in Atlanta.
rsvp@biscardicreative.com to reserve seats.
https://www.theroughcutmovie.comNow editing “Good Eats” in HD for the Food Network
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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I know some people get all hyped about more RT with various formats, alpha channels, etc. but if it’s going to look as bad as FCP’s RT looks right now, and still have to render to see what its’ really going to look like, then I’d end up rendering in smaller chunks anyway. I never got to see a Cinewave in action…did it’s multiformat RT look decent?
Joe Murray
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Are Avid’s resolution independent now? Or do you still have to import footage/stills into the project as Avid media files? I know they can do different compressions realtime in the same timeline; how about stills with alphas?
Joe Murray
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