Ben Holmes
Forum Replies Created
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Had a quick chat about this to a DP friend, and he also mentioned Kine-Flo as a solution. They need to warm up, like HMI’s, but are incredibly bright, and not harsh if used properly – the handheld one he has is incredible – bright enough to fill in daylight…
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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Turbo? Via USB2? I think not.
Maybe quicker than a G4 lappy, but not gonna speed up my OctoMacs….
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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There’s always the old fashioned way of speeding up a scene – editing…
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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Crushing the blacks means to darken the black areas of the picture. Your friend is doing it to add a look to his video – generally film has deeper contrast and black detail, so crushing video blacks is a cheat way (along with upping the contrast) of getting closer to the film look. That’s a massive oversimplification by the way – a real film look is about more than this, and film blacks shouldn’t be crushed anyway, but I digress.
He is NOT describing a method for treating all video (such as colour correction), that is unless this is his only ‘look’ for his edits. You will develope and copy many looks in your time, so try to avoid picking up buzzwords like this and assuming all tv talk is big and clever. Mostly, I think doing this is just a bit lazy.
If you want to learn more about treating video, the best way is to spend some time with an editor (and preferably more than one) who’s work you admire – that’s how I learnt there was more to video looks and treatments than ‘crushing the blacks’.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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A general point – irrespective of how you do it (and you are using most of the right tools, although I’d bring it all into FCP to edit via MPEG SC) the results will not look good.
MPEG 2 is a delivery codec, and modern DVD players are remarkably good at removing noise from the compression. Any attempts to edit with MPEG 2 derived footage result in blocky, noisy, pixellated images. Recompressing it onto a new DVD will only make this worse, as the noise in the original compression makes the second pass even worse.
Sorry to be negative – but I remember how disappointed I was the first time I tried this. Do anything you can to get hold of the footage in another format – it’s not a good way to put any sort of showreel together – although I appreciate your choices are limited at the moment. Perhaps you can present them with this as an ‘offline’ to convince them to source better quality transfers…
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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You can’t judge this properly unless you look at a video monitor. The Canvas does NOT show you the full resolution output under any circumstances, and makes gfx (rendered or not) look awful. This is particularly true with HD timelines.
Not saying that’s the only problem, but you need to overcome this first.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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Did I say frames? Meant fields. Geek police coming for me – have…to…hide….
Not heard that theory about uncompressed capture. I can tell you it’s the practical experience of many people here (Walter included) that using component HD to capture HDV is a great solution, especially when coupled with DVCProHD as a codec. Uncompressed HD would be overkill, and unwieldy anyway – and you’re not going to magically make HDV look better – but it’s such a great post codec.
I know Walter has more experience of this than me (I use DVCProHD with Uncompressed sources on the road more often) and especially with Final Touch (aka Color soon) so I’ll leave a more detailed decription of the benefits to him.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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[fearless] ” I’m not a big fan of DVCPRO HD transcoding either “
Not transcoding. Capture as DVCProHD. You’ll find you have a better quality, faster rendering, mastering quality output that exceeds everything you can get out of native HDV editing.
Please try it.
Ben
PS – Please disregard other post with Wiki link, I can see your beyond that, but we get asked about this a lot…
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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Geek alert. Actually HDV uses 4:2:0 colour subsampling, like PAL DV (but unlike the 4:1:1 compression used in NTSC DV).
At any rate, both imply that the chrominance resolution is a quarter of the luminance resolution overall, but HDV does it by only having colour info on alternate frames…
That’s why it sucks in post.
;.)
Ben
PS – I recommend this: https://en.wikipedia.org/wiki/HDV
particularly the section lower down on editing HDV and the ‘interlace dilemma’ (some of which may be out of date now.Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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One question – did you import the HDV in the HDV format? With your setup, you could capture it via the Kona as a 10-bit SD file (if you only need SD) or even DVCProHD (if the frame size matters to you).
HDV is a rubbish format for post, and perhaps the banding you’ve seen is as a result of its tiny colour-space.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.