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DV to 10-bit discussion
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Media manager? What’s that?
Have a wonderful day.
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Well, Chris, the Media Manager is a tool that everyone loves to put down, but hates to learn how to use.
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David,
Why don’t you just change the compressor to 10 bit and render the darn thing?
Have a wonderful day.
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Chris,
Well, the job is done now, but, the reason I didn’t use that technique is because I asked here and no one, not a soul, mentioned that as a possible solution. Do me a favor, can you please expound upon that concept a minute and tell me if that would actually do the job with the ultimate goal being that everything on the timeline needs to wind up at 10-bit rez, with the uncompressed stuff video, graphics, etc. staying uncompressed all the way through and the DV stuff uprezed to 10-bit.
DRW
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I am not sure if I understand what you are talking about, I have never used or found something in FCP that is called a software up convert. I think there is a nomenclature clash here.
For my taste, if I understand your point, I prefer to redig the DV if it is going to need to be 10bit. This might sound crazy but I like to put a TBC between the deck and the card and tweak things (using a scope, of course). I am not doing what might be called color correction but I am modulating the luminance and tweaking colors so that the master 10 bit is as fancydancy as it can be before going to color correction.
It works for me…..
Chris
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I get it, your TRANSCODING with the media manager. Funny how using the actual words help to express a technical idea.
Chris
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[Blub06] “I am modulating the luminance and tweaking colors so that the master 10 bit is as fancydancy as it can be before going to color correction.”
Not me, I give my multiple emmy award-winning DaVinci colorist the video just as I found it so he can have maximum latitude.
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because of the different sizes of the comps?
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David,
Maybe not with 10 bit (which is mostly a waste of drive space) but I have been transforming DV projects to 8bit for a couple of years now, makes a huge difference in graphics quality. If your system is Firewire only you can’t watch it in real time, but you can render it and save to a QT movie, which looks great. Do this all the time on several DV-only systems.
I have a Kona LH card, and formally used a Decklink SP, so I was able to watch the improved movie in real time, but more often than not with either of these cards, I capture my DV material via component to 8 bit, which as I have described many times saves drive space, rendering time and that 480-486 inconvenience of worrying about those extra lines and what it might do to screw up field order, plus I actually like the look of it better than Firewire capture, less edgy, more filmic, depending on how it was shot. Just my preferrance.
But, if you’re more comfortable putting your DV timeline into a 10bit project, why don’t you do just that? Create a 10 bit sequence, drag the DV sequence into that and render. Seems like extra work to me, just changing the compressor or easy setup seems faster.
Have a wonderful day.
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If the shot is in a car and you cant see the people talking to well, because its exposed for the sky out the window, you might want to give your colorist as much as you can by, giving him as much as you can. If you are in charge of creating the master footage someone else has to work with, make it gooooood. I like my master clips to be in tip top shape before anyone has to stretch and bend the colors and luminance.
I know this is an on gong argument with no end, so I put my cards on the table.
I hope this is not too rude but, its my nature, in the biz, everyone knows that the machine that makes the actual emmy award is an animal crackers machine which they switch over to an emmy award making machine the second Tuesday in May. Everyone
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