Barend Onneweer
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Why on earth would you export to Cinepak? It’s a terrible codec, designed for the first generation of multimedia CD-ROMs.
If you output to a lossless codec like QT Animation 100% you’ll get very big filesizes but a pristine image quality.
You could try exporting to DV, if that’s what you’ll end up with, but the DV codec doesn’t work well for graphics. It’s okay-ish for photographic images, but terrible on graphics.
What’s your final output?
Bar3nd
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I’d export to an SD Quicktime from the HD timeline, yes. What format do you need to deliver in?
As for the image quality of local broadcasters… There’s a lot of circuitry between the tape you deliver and final playout. They might even bounce to Beta SP before playout.
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You could probably do it with an expression, countering the layer rotation in the lighting position in the bevel effects settings.
Or you precompose the rotating layer, moving all it’s attributes to the pre-comp. And then apply the bevel to the comp, not the original layer.
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You could probably do it with an expression, countering the layer rotation in the lighting position in the bevel effects settings.
Or you precompose the rotating layer, moving all it’s attributes to the pre-comp. And then apply the bevel to the comp, not the original layer.
Bar3nd
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Some of the choices depend on the type of work you’re going to be doing on the images. Chromakeying? Best done at HD res. Motion tracking? Same.
1. Yes, I consider Beta SP to be a serious compromise in quality compared to digibeta. If you’re going to have to downconvert, at least keep your image in the digital realm.
2. An HD1200 DVCProHD deck usually rents a little cheaper than a DigiBeta deck. But they’re in the same ballpark.
3. Depending on the amount of source material, you could ask for an estimate on transfering all the material. But I think you’d probably be best off transfering to DVCProHD and renting the 1200 deck.
4. Like I said earlier, it depends on what you are going to do to the images in post. Sometimes, even when the final delivery is on SD, having the extra resolution in post really helps. And sometimes it really doesn’t make much of a difference. That said: the DVCProHD format really is an amazing image quality for the datarate it uses. And FCP supports it well. So I’d probably go with doing post in DVCProHD, and then downconverting to SD in the end.
Hope this helps.
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I can’t confirm the ADC part, but the website says this about working with HDLink in SD:
“HDLink supports all DVI-D based digital computer displays. For 1080 and 720 HDTV formats, a 1920×1200 (16:10) resolution display is recommended. However, if you
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Well, you could start by taking a look at this comparison chart:
https://www.decklink.com/products/hd/specs/The basic HD board will let you edit 4:2:2 HD, up to 1920×1080 resolution. And SD of course.
It’s ‘basic’ because it only has digital I/O. It’s got SDI video out, no analog outputs. So you’ll need a video monitor with SDI inputs.
The Decklink HD Pro has analog video output, separate digital audio inputs, etc.
So you could edit HD with the basic model, if you already have the right I/O and converters in your studio.
Bar3nd
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Not just at the push of a button, but there’s a couple of ways you could achieve this.
It would probably be best to start off with setting saturation to zero with a Hue/Saturation filter. Then apply a couple of pixels of blur. Then use the Levels or Brightness/Contrast filter to crank up the contrast and tighten up the edges.
The desaturation is in there because colors can get mighty weird when cranking up the contrast dramatically.
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This question is quickly becoming the most asked question in this forum… Comes up about every week.
Unmult can be found here:
https://www.redgiantsoftware.com/unmult.html
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True, for specific frame sizes and file types you’ll need to consult with the transfer house.
But although there’s no such thing as “film resolution”, 2k is usually a good start. That means 2048 pixels wide, and then the height depends on the aspect ratio of the specific project.
But I find that most projects that I work on these days are scanned at 1920×1080, even if they’re shot on 35mm and printed to film for theatrical release.
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