Annaël Beauchemin
Forum Replies Created
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“Duplicate field” makes a strobey picture and can create jaggies lines. It is the default.
If you use “blended interpolated”, you’ll get a very smooth slowmo but it will be “smeary”. Kind of like if you add motion blur. This is notheless the one I prefer: Fast render and smooth motion.
“Interpolated field” will give less smearing, but will be a bit more strobey and blurs the picture a bit. It’s a good alternative to blended interpolated.
“Fluidmotion” will give you the sharpest picture and smoothest movement, but is very slow to process and can give artifacts on movements that cross or shaprly change direction. You can correct those errors but it requires you to “paint” the vectors, which is long and tedious. On smooth linear pans it always works fine tho.
The other “VTR-style” types… well I never use them, they make the picture stutter in my experience.
“Both fields” works only great on speed ups, not on slomos.
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Hello!
I think I wasn’t clear. It’s already being fed a reference. The problem is with the monitoring composite output while recording and only while recording. Even when checking with a monitor I can see the offset. The NLE (Xpress) sees the same. It’s a vertical offset and it drifts very slowly, about one 1ine per minute.
It’s very odd…
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It might work if you put the graphic card acceleration performance slider in the displays control panel to the mid setting. This is my experience with MC soft and a XW8000 running a FireGL X2. One thing to note is that you’ll get a bit less real time realibility. When you try to playback more than 1 CC, 1 mask and 1 3D dve, it will jerk sometimes.
If you have the choice, definitely get an nvdia…
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[walter biscardi] “Asking Color to work inside of FCP is like asking a daVinci artist to do some editing on their color workstation. It’s a very specialized tool and what I don’t want to see is Apple watering down Color to make it work inside FCP.”
Having Color inside FCP would have been terrific. You don’t have to spend much time with Avid DS (or Discreet Smoke) to realize how powerfull is it to have every tools in one app. The argument that it would clutter FCP’s interface is invalid. They could have made a “Color Correction mode” just like in Avid.
And well, Color isn’t far off from that. You can see it as a color correction mode in FCP, but what I fear is bugs and limitations. and if we need to render a color corrected sequence to file and rimporting this to FCP, this will be a very painfull round tripping when working with clients or when working with projects that gets revised alot.
I think that for those of us who are unimpressed of the new version is that there is no Extreme version. Sure FCS is of very great value. But what we want is a more expensive version (say from 3K to 10K) with more tools in one big app. Sort of a DS or Smoke killer. We want trackers, effects trees, advanced masking tools and keyer, advanced color correction, advanced retiming tool that can deal with 3:2 24p clips… There is a big market for this type of tool.
It’s sad enough to see that even Media Composer (now 4000$) gives you about all this (minus the effects tree), alas in the most ugly and unfriendly interface (yet, very effective once you “got it”).
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are you trying to render 10 bits (or “high precision YUV”) with matte feathers ? This could be your problem… 10-bit is buggy…
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is there phantom power applied to the inputs in the mixer? A loud pop means there is DC in the line which is frequently the phantom power switch turned on by mistake….
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[msacci] “XDCAM is a highly compressed format and lower end color space, not the best choice for keying. the problem you described are common to this format.”
XDCAM can record at many bitrate including IMX 50mbits 4:2:2. IMX 50 mbits is fine for keying. It’s at least as good as DVCPRO 50. I don’t know how can we say that “XDCAM is a highly compressed format and lower end color space”.
“JKL aniPNG”, I don’t understand how you captured your footage… When copying the files from the blue rays, you should have got them in their native format (which I hope for you is IMX 50). Then you should work with them in a IMX 50 sequence for offline if you have editting to do and an Uncompressed sequence to do your keying.
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A solution would be to buy Popwire “Compression Master” which is now under the name of Telestream “Episode”. This is an advanced video compression utility with which you could convert the h264 to DV with a timecode burn-in. You can also trim the in point so that the converted video starts at 10:00:00:00.
it’s 400 bucks…
https://www.flip4mac.com/episode1.htm
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[jimmy stewart] ” its also interesting that i have never had this problem with AVID?”
like Walter said… most Avids will only show you one field on pause. Which is half resolution… i’ve never quite understood why they do that. It makes supers placement, CC and other stuff pretty hard to do precisely.
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Another that I remember of is with matte feathers.