Chris Babbitt
Forum Replies Created
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Naw, I’m not worried about it. Most people seem to be viewing on HD TVs nowadays. In fact, the main reason I bought the camera now instead of later was not for HD but for 16×9. I was using DSR 300s before and found that my clients were mostly viewing on wide screen sets. The thought of them viewing my stuff all stretched out was too much for me to handle.
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My guess is, if you are doing mostly outdoor events, and you shoot in SP mode (HDV) on the EX, you can get away with it. Indoors, such as in a church, I don’t think you will get a very good match.
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Craig,
The aliasing I noticed was when I panned slowly across a fence. There was noticable fine jaggies along the horizontal members of the fence. I also saw some “twitering” in the branches. This was all on the SD monitor, and I attribute this to the fact that the monitor does not support Progressive. None of this was evident on my HD set with the uprezzing DVD player.
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The answer is to do the import outside of FCP, and then bring the clips in.
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That’s interesting, Don. I didn’t know that about Progressive mode. How much difference?
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I forgot to mention that I was playing the files off a firewire 400 drive (7200 rpm). Could this be a contributing factor as well? The data rate for the full-rez version is 35 mbs and the Apple TV version is around 5000 kbs.
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Thanks Jeff. Wanna buy a Powerbook?
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I just tried one more test. I took the SD sequence and rendered it first, before exporting a Quicktime movie, and then taking that into Compressor. It only took 2 minutes in Compressor, but took 18 minutes to render. So, the whole process was 5.5 minutes longer than exporting directly to Compressor without rendering first.
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I have Doug’s DVDs and I wanted to test his method, so yesterday, I took some footage that I had shot with my EX while on vacation, and edited together an 8 1/2 minute piece. It had a few dissolves, a supered title, and one clip in with variable speed. The piece was shot in 1080 30p, and I edited it three different ways. The first, I edited in it’s own native format. The second one I did the same, but then copied the whole thing and pasted it into a DV-NTSC Anamorphic timeline. The third, I edited from start to finish in the DV timeline. Since I am looking for the fastest-most streamlined workflow, I did not render anything during editing. I just exported each sequence directly from FCP into Compressor, with a 1-pass CBR of 7.4.
The first method (XDCAM sequence) took 23 minutes
The second method took 15:30
The third method (Doug’s method) took 14:30This is on a MacPro 2.66 Quad
I then burned a DVD and compared. All three looked great and virtually identical. It might be that version one looked a bit sharper than the others, but it was so close that it could be my mind playing tricks. I viewed the DVD on a Sony 36″ SD monitor and also my Samsung 56″ dlp HD monitor. There was a little bit of aliasing on some of the fine horizontal lines when viewed on the Sony, but I attribute that to the fact that the TV does not support Progressive.
It looked amazing on the Samsung which I attribute to the excellent upscaling of my Blu-Ray player.Now, since it was a pretty simple edit with mostly cuts and no filters, I don’t know how different the editing process would be when working native vs. in an SD timeline. I’ll have to try a full project before I figure that one out. But, for the time being, Doug appears to be correct.
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Actually, my new Samsung 56″ DLP TV incorporates this technology. Just waiting for something to play on it.