Bill Ravens
Forum Replies Created
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Yes, if I manually apply a deinterlace in MC6, I get a proper progressive output. I was thinking this gamma shift looked like the old Quicktime gamma shift fiasco. I ran the same test thru Davinci and still see a gamma shift between the Hyperdeck and the native AVCHD. I can correct it out, I just hope superwhites and superblacks aren’t being clipped when recording.
BTW, if I didn’t make it clear, I’m working on a PC(Win7 Pro) platform.
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According to the Adobe manual, deinterlacing is automatically added when you select ‘progressive’ output from an interlaced input.
I’m also seeing a substantial pedestal and gamma shift to higher values with the Hyperdeck footage, as compared to the same capture on the native AVCHD.
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Read up on using AMA. You’ll need to download an AMA plugin from the AVid site, but, using AMA is very fast.
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I used Vegas for years and years. After Sony bought the application, customer support went to hell, along with the reliability. Vegas is a very capable NLE, but, the constant crashes and bugs was so annoying, I finally switched over to Avid. That was 4 years ago and I’m extremely happy that I did. Vegas is somewhat of a toy. perhaps quite capable for a hobbyist, but, if you’re seriously in the profession, let Vegas go the way of the hula hoop.
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update question: I did NOT install the Hyperdeck utility on my edit machine. Is it necessary to install this software for Avid Media Composer to be able to “read” the DNxHD files?
answer: (yep, I love it when I can answer my own question) My problem was because I did not update the Hyperdeck utility on my edit workstation. After updating to v2.0, Avid can now read the MXF files. Situation resolved.
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you know, I think this is pretty crappy marketing strategy used by BMD. They release a crippled version, then within 2 months release a second version. And then they don’t identify which model it is? C’mon, that’s just plain wrong.They should, at the very least, offer a discount for trade-in to the later version.
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Bad news, guys. This is a hardware and firmware update. Too bad BMD doesn’t offer to do a hardware upgrade on the Shuttle 1’s if you sent it in.
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I reported this issue on the After Effects forum about a year ago. I either got ignored, or was given the runaround on the answer to this problem.
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whatever you choose to call it, chroma subsampling was “invented” to fit a video data stream into an available data rate requirement. It is, for all intents and purposes, compression. So, whether you, or the industry, decide to call it something else, it is still compression. And to refer to 422 as uncompressed is nothing but misleading and a sales gimick.It is, in fact, destructive compression that is unrecoverable in post production.
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In a purely semantics sense, you’re right. In a pragmatic sense, you’re being misleading. 422 is certainly “compressed” compared to 444. Technically, this is called chroma subsampling, however, this is a compression technique. And the color resolution is sacrificed as a result of this compression. This is an intraframe compression, as opposed to the more conventional inter frame compression.
If you don’t beleive what I’m saying, just look at the recorded file sizes for 444, 422 or 420 recordings.