Chris Borjis
Forum Replies Created
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Did you try DVCPRO?
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Is there something I’m missing here?
Just like having a very large 2,000 pixel across photo not resize
with high quality in FCP, If I scale down the size of a clip
I can see the text in it doesn’t look nearly as good as if I had
done so in After Effects.Is this a limitation of FCP? (I realize its not AE)
or is there some hidden preference somewhere about scaling being
set to a high quality bi-cubic method? -
none of those suggestions work.
Its not something a small twist or small blur will fix.
It’s horrible anti-aliased looking garbage.
Try resizing a picture in photoshop or paint shop pro.
Use whatever the crappiest downsizing method is available
so that you see bad aliasing.Thats what FCP does.
on the other hand, after effects handles it properly.
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Ok this brings up a good question I keep forgetting to bring up here.
In my meager 6 months of experience with fcp 5 (used to operate a *smoke)
I have never been able to get it to properly downsize hi resolution photo’s
so that they look great on an ntsc sony crt pro monitor.It seems like the downsizing operation in FCP is not Bi-cubic as it should be, since any other method tends to look REALLY bad (aliasing and such)
As a post house we always operate at 10-bit no matter how small or large or what source the footage came from. It’s just the way we do things here.
The blackmagic 10-bit codec was the easy setup for these projects with photo’s in them.
Ultimately we ended up downsizing in photo shop to as close to 800 x 600 as possible and that made the images completely acceptable.
so how do you get FCP to take a 2,000 pixel digital image and just drop it in the timeline for output to digibeta and not have it look like amateur hour?
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Yeah I’ve worked with DV 480 and Digibeta 486 (though not mixed) and never had to do any kind of image shifting. That would suck because you’d have to render the entire timeline wouldn’t you?
When it comes to that kind of thing (mixing dv with digibeta or betasp) I just capture my dv from component as 10-bit even though it isn’t. In my pipeline here at work, I much prefer 10-bit at all times to avoid any strange issues. Of course, it would be much more difficult to do if I didn’t have 1.2 TB of storage at my disposal.
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I’m extremely pleased with my Huge Systems 5210 1.2TB
(with the dual 4gb fibre atto card) -
[Kristian Lam] “Turn on hardware down conversion and use the SDI B output to connect to you SD monitor. This way, you can monitor SD via SDI and HD via DVI.”
I just tried this and the DVI-D displays HD but I get pink snow on the SDI CRT monitor hooked up to channel B from the MBE with hardware downconversion on. It passes through an SD signal when software downconversion is on, but then it turns the DVI-D signal into SD as well.
Do I need to have MBE software 5.6 to make this work?
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are you having difficulty getting a picture to show while you adjust it?
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wait a second.
I thought the color corrector could render up to 32-bit high precision?
there’s a preference in fcp for setting it to render everything at 8, 10 or 32 bit.
is this not so? that setting is terribly misleading if it is.
alot of the “DVE” kind of things in FCP are garbage and I wish there
was a way to turn them off so they were not even an option to see.Thank god they bundled Boris 3D titler. that stock title is useless.
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we work exclusively in uncompressed 10-bit SD and occasional HD.
we used to archive on digibeta (with a discreet smoke), but then we came to our senses and went to Final Cut 5 in January.
We use the 500gb Western Digital “my book” drives for archiving.
The client is asked at the beginning of the session if archiving will
be necessary and if they choose to (usually always do) then we charge
them for it. The drive and time to do it costs us nothing since its
charged to them.I had been looking forward to transitioning archiving to Blu-Ray dual layer 50GB media but it looks like that won’t happen until later this year as sony is having trouble getting high yields on dual-layer.