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Will old formats Apple in the future?
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You missed the subtlety. My post is a direct quote of your own words from a previous post aimed at me. I was simply trying got be difficult, as you seem to think that your words are the only words that deserve to be heard.
If I had posted a comment as yours, I am sure your holier-than-thou response would be, again, scolding me for adding nothing significant to the conversation.
I could really careless what your response to this post might be, as I doubt I will ever look at it or anything else with your name attached.
Brian Mulligan
Senior Editor – Autodesk Smoke
WTHR-TV Indianapolis,IN, USA
Twitter: @bkmeditor -
[Kevin Patrick] “Now there’s a term I haven’t heard in a while.
It seems to me, people assume SSDs are better. Better than HDDs.
But is that really the case? Does anyone know what the shelf life is of an SSD? Sitting untouched, without power for years?
“No moving parts, so probably. Huge accent on probably. No moving parts is a big plus, but diodes and transistors aplenty, all of which have shelf lives of their own. Here’s an interesting bit on SSD drives:
https://dfarq.homeip.net/2010/10/ssd-myths/
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[Kevin Patrick] “I probably shouldn’t correct you, but …
I believe my assumption was actually sarcastic.
(perhaps no better than being false)”
Actually Kevin, I was going to write that, even if you were being sarcastic, I felt it necessary to alert unwary readers, just in case. I was actually hoping you were being sarcastic… 🙂
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfitandSuzanneChisholm/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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[Brian Mulligan] “You missed the subtlety.”
Not at all Brian. I’m actually way ahead of you. If you think of something today, I probably thought of it last week.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfitandSuzanneChisholm/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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[Rafael Amador] “The signal can even be improved”
Really? How can you improve on a VHS format? I was always under the impression that you can’t get more than what’s there.
I can understand how a compression algorithm can affect something that was never compressed. As with capturing via DV.
But are you saying you can get improvement? Or are you saying using a capture device (for uncompressed analog) will be better than the DV capture approach?
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[Kevin Patrick] “Really? How can you improve on a VHS format? I was always under the impression that you can’t get more than what’s there.”
You can’t improve VHS quality (except perhaps via a bit of color corrections once it is digital). But you can avoid adding insult to injury when you capture (any analog format) to ProRes or equivalent rather than firewire/DV-codec.
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[Kevin Patrick] “Really? How can you improve on a VHS format? I was always under the impression that you can’t get more than what’s there. “
same that you can improve DV stuff (420/411) going to 422 or even 444: Using an intelligent algorithm to refill the lost color samples.
You get that when you capture DV stuff with a good IO card and using a 422 codec (8b Unc would be perfect), or in any application able to apply some chroma filtering.
I do it in FC with the Nattress “ChromaSmooth/Sharpen” . Just to start, all the blockiness disappear, and all those saturated reds that expands out of whatever red object, goes back where they should be.[Kevin Patrick] “I can understand how a compression algorithm can affect something that was never compressed. As with capturing via DV. ?”
What means not compressed?
A DV camera Video Out gives you a full broadcast signal that could be captured even at 10b/444.
What you get in tape is a 8b YUV downsampled (411/420) AND with a hard DTC compression added.So in both cases from the Video Out (Composite or even better S-Video) or from tape, the picture can be improved.
Same for VHS, same for Betacam.Don’t get me wrong, I’m not talking about being able to make a Chroma-Key from a VHS tape.
Is about cosmetic, make-up.
Is like a beauty parlor. We make grandma look better; we don’t try her to run the marathon.[James Culbertson] “You can’t improve VHS quality (except perhaps via a bit of color corrections once it is digital). But you can avoid adding insult to injury when you capture (any analog format) to ProRes or equivalent rather than firewire/DV-codec.”
The AJAS applying chroma Smoothing on capture.
Any 420/411 would be improved when capturing to 8/10b Unc or Prores.
NLEs render 444 so any 411/420 (DV, AVCHD, XDCAM-420) stuff can be “improved”.About VHS (Wikipedia: VHS is roughly equivalent to 333×480 pixels luma and 40×480 chroma resolutions), when you map that to 720×480 (720×576 in PAL) can be a huge difference on how you re-fill those holes. of course you can get a VHS to show 250 vertical lines, but you can make to look sharper the 180 or so that can hold.
You don’t need to digital to get that, the very analog signal can be strengthen through a proc-amp.
VHS desk don’t have it; Betacam players does.
when you work with Betacam you always touch those knobs (adjust with proper Color Bars and a the Oscilloscope).
The desk you use is very important too (adjustable RF).[Clint Wardlow] “The problem I have with relying solely on hard drives is, that with the amount of data that they store, a hard drive crash could be a total disaster”
Clint, always two HDs, or as I’m doing, on one HD and in Data Blu-ray disks.
SONY XDCAM disks are supposed to have a 50 years warranty.
rafael -
While you can’t correct “resolution” other than by line doubling etc, you can correct time base errors.
Good analog decks should have a built in TBC, that will strip and re-lay sync. So if you’re dealing with chroma smear – that process will actually improve the quality of the playback of an old tape.
FWIW.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Rafael Amador] “you can improve DV stuff (420/411) going to 422”
I had this discussion several years ago, different forum, with someone who I felt understood this more than I did. It was in that discussion that I came (or was brought) to the conclusion that you can’t get something from material when it’s not there. (or something like that)
If it was sampled at 4:1:1, you’re not going to benefit from capturing it at 4:2:2. The detail simply isn’t there.
Interesting.
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The Mythbusters have proven that you can get a shine when polishing poop:
https://dsc.discovery.com/videos/mythbusters-polishing-a-turd.html
The process Rafa is talking about makes a very subtle difference in normal video. It will help you out in areas like keying, chroma key or lums key for cc, as it can bring back a bit of the edges.
You can put a shine it, but it’s still poop.
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