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uncompressed pixels question
Hi guys,
today happened something that just doesn’t sound logical to me. I’ve prepared a sequence in fcp to send then to color. The sequence was 960 x 720 (Panasonic varicam, no field dominance) with the original dvcproHD codec. I then changed the codec to uncompressed hd, because of the heavy grading which was to be done. So far so good. Didn’t want to recompress the colors to heavyly.
I then noticed a strong pixelation (looking at the canvas, at different sizes) all over the image. It wasn’t a question of field dominance either. I then just switched back to the original codec in the sequence and everything was smooth and ok again. I finished the work with this setting and it looks allright. But still the theory says it’s better to work uncompressed.
Any comments?
Thanks
Patrick -
6 Replies
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How were you monitoring?
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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I was monitoring it always on the same computer monitor and on the (same) canvas (stay in the same system). I’m aware that monitoring on the canvas is critical, but this was just a comparison.
Patrick
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Under the “RT Extreme” Tab, in the upper left of the timeline, are you in Safe RT or Unlimited RT? Also, make sure your quality is set to High and not dynamic. That’s what I would suspect, right of the bat. Is it pixilated immediately after you changed the codec in the timeline, or only after render?
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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[Patrick Kofler] “I was monitoring it always on the same computer monitor and on the (same) canvas (stay in the same system). I’m aware that monitoring on the canvas is critical, but this was just a comparison.”
The key is that you are monitoring via the canvas, which is optimized for realtime playback, not image quality. The demands of realtime playback on uncompressed are far greater than compressed video, and so knocks the image quality down considerably if yyour RT settings are set to variable image quality, which is the default. You need to make framerate the variable if viewing image quality in te canvas is your priority. This is the main reason pros edit using an I/O and a broadcast monitor.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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Thank you guys, very useful comments. I will report back next time.
Patrick
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[Patrick Kofler] “The sequence was 960 x 720 (Panasonic varicam, no field dominance) with the original dvcproHD codec. I then changed the codec to uncompressed hd”
Hi Patrick,
This can not work like that. If you change your sequence codec you will be forcing a rendering in FC (from DVCPro to Unc) previous to Color. FC is not able to do so. The only thing you can put between your footage and Color is the 3W-CC filter, this will be managed and rendered by Color. Another transformations (effects, motion effects, transitions, etc) are lost in the process.
If you want Color to accept Uncompress footage, you need Uncompress footage in your sequence.
Any way you will find no advantage converting your DVCProHD before go to Color. Edit and send to Color as DVProHD and render in Color as Unc.
Rafael
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