Angelo Lorenzo
Forum Replies Created
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The article is a bit older (2003), I can only assume he’s suggesting you avoid re-transcoding… or something. I’m as stumped as you are.
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I would say the first suspected cause of the lines are the deinterlace filter. Depending on how it blends/resamples frames, artifacts may be visible on high contrast monitors.
Overall, in my experience though, I think the “film look” being based solely on 24p is bullocks. To tone down the video look, we’ve had more success with using slower (wider degree) shutters, adding a grain overlay to the video to increase visual accutance, and by using more aggressive color grading and luma curve adjustment. Shooting on cameras with 2/3″ sensors or larger really helps as well as part of it is depth of field. It’s a “total package” thing.
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What do you expect to do with it exactly? Most of the toshiba models are 4gigs of ram… I would say that’s the minimum to do any kind of heavy lifting with CS5. I might find the hard drive a little limiting as far as size but it does have firewire and, apparently, eSATA which is quite useful.
I would say it’d suffice as a DIT laptop on set, or rough editing while traveling. You may be able to hack the graphics card to work with GPU acceleration for Premiere if it has a gig or more of video ram. If it’s shared ram, performance may be spotty.
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Throwing my hat into the ring. MacDrive is great, doesn’t dent resources and no appreciable overhead when transfering files to and from MacDrive. If you flip the situation, Mac can read NTSC (win) drives but if you want to write to them, it’s worth looking into MacFuse.
I’ve never had MacFuse crash or do anything odd and I’ve been running it two years thus far.
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To clarify, is your deliverable a DVD or Blu-Ray disc? If you’re shooting and editing 1080i50, take the interlace filter off it as its exporting to interlace and you’re probably creating some kind of resampling artifact when it’s resized.
If you are delivering a DVD, de-interlacing is redundant as all legal dvd videos (PAL and NTSC) are interlaced. “Progressive” DVD players use hardware pulldown during the disc read.
If you have any decent grasp of video, reading the Wikipedia article on DVD video will help https://en.wikipedia.org/wiki/Dvd_video
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Well granted, the scopes are useful for the 0-255 range, but when most deliverables have to conform to 16-235, I’m surprised they don’t at least put in a feature to switch ranges. I put in a feature request for it though.
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Well the thing is on the scope 0 and 100 map to 0 and 255. Final Cut Pro is actually a bit more useful in this respect as their scope’s 0-100 maps to 16-235.
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It’s fine. If you have Premiere, I would assume you have Encore. You can bring 16:9 footage in and burn it to DVD while keeping that aspect ratio (this is known as an anamorphic DVD which will play in full on a 16:9 tv or with shadow bars on a 4:3 tv) You may notice thin black bars on either side of the video, as the conform to DV 16:9 isn’t perfect, but these margins get lost to overscan/processing most of the time on the tv.
My suggestion is that you preemptively sharpen your video, as down converting always softens details.
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Chris, the latter half of your post answered my question perfectly. I actually did some additional digging and found that digital still uses the value of 0 and 255 for sync pulses.
Like I mentioned in a previous post, I use After Effects to conform my footage as it’s color managed. It allows up to 253 for spectral highlights.
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Well there is no need to crop, say if you’re embedding a quicktime player into a page, as it’ll recognize the pixel ratio, but anything flash based Id play it safe and crop because it’ll be converted to square pixel. NTSC has the same/similar issue as DV resolution actually needs to be slightly cropped for the change to digital broadcasting.