Ben Holmes
Forum Replies Created
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Or:
Shape generator (where the text generators are) select oval/circle. Set it to correct size and maximum (or slightly less) softness.
Place it on V1 and move your video up to V2. Change the composite mode on V2 clip to ‘travel matte – luma’ .
I find this is a softer effect than Matte’s method, as you can feather the edges more – just a personal preference, Matte.
If you’re losing the effect when you transfer for the web, it’s probably because a good vignette is quite subtle, and subtle effects get lost in compression. I suggest you ‘overdo’ the effect a bit then when you compress it, you should see it better.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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[gary adcock] “do not see an appreciable difference between 720p50 and 1080 50i in RT performance if anything the 1080 is a tad faster due to the less stringent demands of interlace over progressive playback. “
That makes perfect sense. Thanks Gary!
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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[walter biscardi] “What you’re asking about is bringing in one format and capturing it to another. The LH, Kona 2 and Kona 3 can all do this.”
However, I can use DVCPro HD to capture at 1080i, albeit at 1440×1080 for 50i. Correct? Do you use the format as 720p or 1080i Walter? Presumably using it 1080i reduces RT performance and ups render times? I presume all the DVCPro HD codecs have a 100Mb/s bitrate?
More questions. Apologies. I have tried to research this.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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Wow. Thanks everyone – that covers everything! Nice to get some help back. Don’t you ever have questions to ask Walter? Must be something you don’t know…. Be nice to help you one day.
We’ll have to go to Kona 3’s when we upgrade (eventually) to Mac Pros. Of course, this extra functionality on the Kona 3 certainly pushes things forward. Looking forward to some HD DVC Pro testing now.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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[gary adcock] “you will need a Kona 3 to be able to do that from 720p material however.
the Kona 2 does not do the cross convert”Do you mean convert to 1080i, or to 720p HD-SDI signal? Need to have a good look at the Kona product page again, I think. Always thought the Kona 2 upconverted and downconverted to whatever I wanted…
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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We’re using the Ultra-SCSI 320 solution – dual channel SCSI via Medea 8 disk array. Not as fast as FC, but a little cheaper, and capable of 250-300Mb/s. We’ll probably go Fibre Channel next time, just for the ability to share arrays between workstations.
Of course, you could use the Kona 3 to capture with the HD DVC Pro codec (see other posts) to get near the same quality at a much lower bit-rate, with a cheaper array. Just another option for you…
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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Are you saying that you don’t need an HD output at all? If not, why not just set the firewire output on the camera to DV and capture as DV. It’s still great looking, and will save you HOURS in renders etc. HDV is TERRIBLE to work with in FCP.
You’ll still have a nice looking product, as the camera takes great images that look good at either resolution, but if you’re not going to show it HD, what’s the point of doing it HD?
If you have a capture card such as the Kona, you could work in a decent HD codec, like HD DVC Pro, by captureing from an HDV deck using the component HD outputs.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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If you believe what Matrox say about the quality (hoping to see it at IBC) then it depends whether or not you need a card that’ll do capture as well. If you don’t, and you’re not interested in similar DVI-HD/SD-SDI products from AJA or Blackmagic then fine. Mac users are understandably nervous of Matrox. The claims about reclocking a DVI output so that it’s good enough for broadcast/edit to tape are interesting. Certainly, I wouldn’t use our AJA DVI-HD-SDI box for that…
I was considering it so that we could feed an LCD HDTV via re-clocked DVI for clients – obviously we use CRT HD monitors for ourselves, but it’s an alternative for our current systems. If you had a requirement to make presentations or other grapics available in a broadcast enviroment, it could also act as a cheap scan-converter…
If you just want an SD out, you could just buy a $299 Blackmagic card anyway. Couldn’t you fit that in your G5, or is it full? Never managed that.
Read the other thread – it’s an interesting discussion involving people who tested it. And I used to be an RTMac user. Forgive and forget? We’ll see.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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[walter biscardi] “DVCPro HD material is identical in quality whether you work in 10bit or DVCPro HD native. HDCAM material looks outstanding in the DVCPro HD codec as well. It’s a win-win for your situation using the DVCPro HD workflow.
My suggestion is to do a test edit and try the workflow before you throw into a live situation. We did almost 6 months of testing with Good Eats before we commited to the workflow.”
Many many thanks – that’s what I was hoping to hear! And we’ll be testing before we start – but I don’t think I’ve got 6 months! Must be nice to work on the same show with the same setup for a long period as well…
I feel sure that a lot of editors, coming into HD, feel intimidated into working uncompressed in the belief that it’s necessary for top quality HD output, complemented by expensive arrays to run it. Personally, I was swayed towards HD DVC Pro after a cameraman friend of mine (who’s also a pretty handy Combustion user) decided on it for his HD Kit purchase over an HD Cam kit, and he’s the fussiest guy I know about image quality. He said he just couldn’t justify doubling the outlay for the Sony kit, when the quality was so close.
I know, I know, there’s ABSOLUTELY a time and place for uncompressed HD. Just think it may not be the ideal solution for me at the moment – and we’ve got arrays more than capable of running uncompressed if required.
Can I check one thing? Presumably the Kona will play back an HD DVC Pro timeline back out HD-SDI so I can lay-off to HDCAM if required? Those are the decks in the OB trucks we often work in.
Again – thanks.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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Thanks to both of you.
If I wanted to use HDDVCPro in a broadcast HD enviroment, in other words where I have the option to use uncompressed HD instead, then presumably I would gain only in terms of disk space and RT speed? Compared to 720p Uncompressed obviously…
Is that about right?
Obviously, I realise that working completely in 10-Bit HD would be better, but I’m looking to shave minutes off edits here, as it’s in a live enviroment, and those long long HD renders bother me, especially where I just want to add a graphic or CC. Just to have a RT dissolve that plays in full resolution off the timeline for ‘quick and dirty’ output might help.
Sorry, I know there are a lot of questions here, I really appreciate your help.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…