Alan Okey
5
COW Coins
2
DaVinci Coins
Forum Replies Created
-
In that case, make sure you use color bars to calibrate the monitor for each mode, i.e. software and hardware RGB. Otherwise, you can’t be sure that what you’re seeing is accurate. If there’s no change on the vectorscope between modes, then the apparent difference in saturation should be resolved by recalibrating the monitor when you switch between modes.
-
[Joel Arvidsson] “I got slightly more saturation when i check in force rgb.”
Are you referring to the saturation indicated on Color’s vectorscope, or the apparent saturation on your broadcast monitor?
-
As long as you have a PCI Express Fibre Channel host card that is supported on the Mac Pro, your old disk array should work. FYI, some users of Huge/Ciprico arrays have had compatibility issues with the Apple Fibre Channel cards, so Ciprico recommends the Atto Celerity series of Fibre Channel cards.
-
[Chris Borjis] “But I’d like to point out there are many editors/post places out there completely ignorant of such things. I have seen so many TV spots with improper black or audio levels I lost track.”
That just makes it easier for those of us who know what we’re doing to stand out from the competition in a positive way.
-
[Shane Ross] “DV IRE is 0, not 7.5. So if you are working with DV don’t you want it to be 0? Digibeta and betaSP have IRE of 7.5…but DV ain’t digibeta.”
DV is only 0 IRE in the digital realm, not in analog NTSC-land. Adam Wilt explains it very well on his site:
https://adamwilt.com/DV-FAQ-tech.html#Setup
In short, the 7.5 IRE refers only to monitoring the DV signal via an analog monitor – not changing the DV signal itself. There is no need to alter anything within the digital realm, only when converting to analog.
-
[Mark Raudonis] “Red is the highest frequency color in the spectrum, and therefore is the hardest to reproduce.”
Red is actually the lowest frequency in the visible spectrum, but has the longest wavelength.
-
[Shane Ross] “For DV, just routing the signal thru your camera or deck will work.”
Yes, BUT –
Unless you have a higher end deck, you won’t be seeing proper black level. Your footage will look darker than it really is because the black level of the deck’s analog output is set to 0 IRE instead of 7.5 IRE, which is the proper NTSC (USA) black level.
Details here:
https://www.signvideo.com/dv-black-level-dvd-7.5-ire-0-ntsc-part-2.htm
-
If you shot in 24p (not 24p advanced), you can use Cinema tools to do a reverse telecine on the footage and save 23.98 versions of the clips which you can then edit in a 23.98 FCP timeline. You’ll need to do the reverse telecine for each separate clip captured, so it may be a time-consuming process.
-
Thanks!
-
Bob,
How is HDCAM SR (4:4:4 RGB) typically monitored? Is it converted back to 4:2:2 Y Pb Pr, or monitored as native 4:4:4 RGB? Or does it depend completely on the purpose of the monitoring, i.e. grading or compositing vs. on-set monitoring?