Christian Glawe
Forum Replies Created
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Well, here’s what’s going through my head (along with all kinds of random flotsam and jetsam)…
True, you can’t *add* resolution that isn’t there… so if the DV25 footage were being screened as is, then straight upconverting is pointless.
But, color-correcting (or anything else that involves rendering that footage, be it a composite, key, motion track, even a re-size and or re-position) involves rendering.
*My* understanding is that, when it comes to color, you want to do that processing in the best color space you can. While, yes, the original footage is 4:1:1, if I want to add more red, say, to the scene, wouldn’t I want to process *that* in 4:2:2 space? Or even 4:4:4, if I could.
Isn’t this why independent docs, for instance, take their original DV footage, upconvert to HD (using Teranex) and master in 4:4:4 color space to D5 or HDCAM SR before doing their film out? As opposed to simply doing all their processing/color correction in DV space, make a DVCam master, dub that to HDCAM SR, and call it a day?
Again, I’m not a certified expert in the realm of workflows, but I’m just trying to reiterate what *my* understanding currently is… I’d love to find out whether my understanding is misguided or not….
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Britney Spears and Pam Anderson are currently available, from what I understand….
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It was colored by a professional…
Me.
Using FCP.
No, probably nowhere near as good as a *real* colorist with a DaVinci, but…. I think it turned out well…
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Yep… I do realize that the difference between DV25 and DV50 may or may not be perceptible, but I’m just wondering if you have to do the task anyway (color-correct for the screener), why not do it in the highest quality you can – y’know, way of the Zen Warrior, living pure of heart and all…
I did a doc earlier this year where we offlined DV25, and then conformed at uncompressed 10-bit (standard def), and believe me, I could *definitely* tell the difference between DV25 and uncompressed 10-bit.
Thanks for the feedback, Shane!
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“You won’t gain any quality from the format you shot trying to upconvert it… nor will you be able to playback anything but DV25 SD in any event. Stay right where you are and color correct it I’d say.”
Is this really indeed true? My understanding was that color correction is a process that involves processing/rendering, and that you wanted to do that in the best possible color space you can…. seems that correcting in DV50 space (4:2:2) would be better than DV25 (4:1:1).
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Yeah… it does take some careful reading, and – in some cases – rereading.
I think part of the problem is a problem faced by *all* texts about film editing. Namely, using words and static diagrams to explain a visual and time-based art form. Personally, I wonder if the book would be better if it were $40, but included a DVD of all the film scenes he references.
But it is a good book, IMHO. I picked up some very useful tidbits from it.
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Cool! Thanks for the insights!
I have Chris and Trish’s 3 AE books, but didn’t know about “Videosyncracies”… thanks a lot for the info!
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That’s interesting…
I guess I had always sort of assumed that if you have motion graphics, you wanted to render with fields… this particular piece features a lot of fast moving elements (shapes, text, etc.).. and the layoff to tape will be done on a Final Cut system with a Kona 3 card to, I think, a 1200A DVCPro deck.
I guess it would be worth a test to render with no fields.
This whole thing got prompted by me pulling in a “fielded” render back into After Effects, and I noticed it didn’t look as sharp as my original comp… thought I may have been doing something wrong.
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Yikes….
Well, that’s definitely an interesting thought… this video is a combination of progressive HD footage, and motion graphics, that will be projected in standard def (DVCPro deck). There’s no standard def footage to match to.
Anyone else?
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5.1 runs A-OK on my (now antiquated) PowerBook….