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Mixxed formats in the imeline
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[Walter Biscardi] “I simply captured it all DV-NTSC, but edited the entire project in a 10bit timeline so all the graphics and animations would be clean. With CineWave this was all done in realtime and it worked beautifully.”
But in Cinewave, that 10-bit timeline was an 8-bit playback process, an 8-bit RT process and an 8-bit output. Still though, an 8-bit UC process for that workflow was better than native DV, so it’s not a total loss.
Marco Solorio | OneRiver Media
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[Marco Solorio] “But in Cinewave, that 10-bit timeline was an 8-bit playback process, an 8-bit RT process and an 8-bit output.”
Actually in SD the YUV-16 setting was 10bit for output. The RT is a moot point because everything is rendered prior to output.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Walter Biscardi] “Actually in SD the YUV-16 setting was 10bit for output.”
Yes, but even then, unless it was *captured* in Targa-16, transcoding needed to take place, which in turn means 8-bit truncation. So in that regard, capturing in native 16-bit would have been best, as opposed to transcoding, just like we all do with Kona (1 and 2) in native 10-bit when capturing DV25 media for UC work.
Targa-16 was a misconceived, inefficient cluster mess that should have never been invented, but that’s just my opinion! 🙂
Marco Solorio | OneRiver Media
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Marco
“unless it was *captured* in Targa-16”So are you saying it had to be captured to a specfic codec to mix and match or could you just bring in DV native via firewire and drop it in. If this is the case then how is it any different than what we have right now in FCP.
David
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[David Battistella] “So are you saying it had to be captured to a specfic codec to mix and match or could you just bring in DV native via firewire and drop it in.”
If you wanted to maintain a 10-bit workflow with Cinewave, you *must* work in a 16-bit timeline with the Targa-16 codec, which obviously illuminates the RT Cinewave was famous for, which includes multiple native codecs without transcoding.
If you wanted to mix-and-match codecs on a Cinewave timeline, including 10-bit source, you could do this, but everything truncates to 8-bit because all the processing worked in 8-bit space.
The interesting thing about Cinewave, from what I learned back in the day, was that it’s a parallel 8-bit process (the 16-bit mode used both halves to get 16-bit out), which in turn made it complicated to implement a true and native 10-bit path.
[David Battistella] “If this is the case then how is it any different than what we have right now in FCP.”
You’re right, it’s not! If you wanted to maintain true 10-bit integrity, you had to work in Targa-16, just like we work in 10-bit space, minus the inefficient file size hogging and lack of any RT. Today with RT Extreme, we can maintain 10-bit media with RT additives! =)
Marco Solorio | OneRiver Media
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Marco,
This is the nice thing about the open architecture of FCP. You do not have to get locked down in the hardware. The drive speeds and computers have caught up to the hardware acceleration and look what happens, “cinewave was a great idea but POOF!. The same sort of thing has happened with the Igniter with the 24 frame option. POOF! When Apple stops suporting your hardware or moves in a different driection you find you have paid for a short term investment. With the cost of hardware so afforable it will be interesting to see what is next.
Doesn’t it feel like we have hit a plateau?
David
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[David Battistella] “With the cost of hardware so afforable it will be interesting to see what is next. “
Hopefully Apple will finally see the light with greater OpenGL support and take things to a new level there… much like what we see in Motion but better, i.e., support for REAL OpenGL hardware cards using 16x PCIe technology… ahhhhh, but that means new G5 or G6 computers!
Sigh
[David Battistella] “Doesn’t it feel like we have hit a plateau?”
Actually, in some regards, we (they, computer companies) have. Moore’s Law isn’t curving like it used to, this includes Intel and ADM. G5 chips haven’t reached 3GHz and Pentium chips are still in the mid 3.x GHz area. Dual-core is paving its way, but it’s just not curving like it did back in the 90’s.
Marco Solorio | OneRiver Media
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