Chris Wiggles
Forum Replies Created
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IRE does not exist in digital video. There are no volts. Their request is nonsensical.
Video black in 8-bit is 16. That’s it.
Unless you’re laying it out to analog tape, there isn’t IRE involved.
You might want to ask them what they mean.
Regards,
Chris -
Andy: can you elaborate on why? It shouldn’t really make a difference either way…?
Regards,
Chris -
Things like motion trails might be neat, etc. Lots of things to play around with.
I’ve had really neat effects with sunsets doing chunks of footage with fades to create a time-lapse without speeding up the footage ridiculously which looks dumb IMO.
Regards,
Chris -
Andy: he’s wanting to move to 24p using cinema tools will slow down the footage and simply play back the existing frames at 24fps rather than 60, so you’ve slowed things down by more than half (a good idea). Then you can drop that into motion (or after effects) and continue from there to slow it down more via processing.
As far as which methods yield the best results, I cannot say. If you have the ability to try them all, just test and see what you like. I’ve seen some really cool stuff done with twixtor on Vimeo, and also had pretty cool results using optical flow in motion myself (don’t have AE). If you google a bit, there have been a number of discussions/tutorials/comparisons, it seems like if you push any of them really hard it sort of becomes a mixed bag no matter what, so probably more of a preference thing.
Regards,
Chris -
Various step-by-step guides via googling, if you’re not into the whole brevity thing:
https://www.devia.be/news/article/setting-up-a-virtual-cluster-to-speed-up-compressor/
etc.
Regards,
Chris -
Does FCP re-map incoming images to video range? This would cause banding problems on gradients.
I don’t really do critical work with FCP, so I’ve never investigated/cared about this, but sRGB/graphics range is not the same as the video range. And if you’ve got 8-bit stuff going on, that’s going to choke if you do any remapping.
Regards,
Chris -
I would output the master file in 1080p, then scale and/or compress to whatever you need using compressor, etc.
I shoot 1080 (i, usually) all the time, and when I compress for the web, I just compress to 720p off the exported 1080 final product.
Regards,
Chris -
You can deliver a monitor that has been calibrated, but was it calibrated in your room at with the exact same level of ambient lighting?
And if it is, for instance, a plasma monitor in particular, has it been worn in?
Has it been shipped to you and moved around a lot, and perhaps calibrated in a very different climate?
For serious color work, calibration needs to be touched up periodically as a display drifts over time, and ‘pre-calibration’ may help a professional display be much MORE accurate and usable out of the box than a wildly horrific consumer display (which is usually designed to be way out of whack to suit the whims of ‘more-colorrific!’ consumer desires.). But you should always do final calibration at the display’s final resting place. After it is in your exact viewing environment, at your exact altitude and climate, not just fresh out of the box (or touched up again after a hundred or so hours), and after it has been jarred and tossed about during shipping.
I don’t doubt the desire to pre-calibrate a monitor, or have some kind of ‘shop-calibration’ before you take it home, but many people have tried to do this and all have failed. Displays are simply not stable enough over time (though they are now MUCH more stable, generally, than in the CRT days) to allow you to do this with a sufficient degree of precision. Home users who simply want an accurate consumer display for viewing movies won’t be satisfied with this, nor does any self-respecting calibrator offer services like this. And it certainly won’t be accurate enough for a display actually being used for critical color work.
There is no way any manufacturer can predict how the display is going to drift as it’s worn in and as it’s used, nor how it’s going to change in your room, nor what your ambient lighting is like.
They would also be assuming that whatever you are feeding it is giving bit-perfect levels (and this is assuming even further that there is nothing analog anywhere in your system, which is still a pretty flimsy assumption to make in many systems).
I think it’s great to shoot for as accurate *as possible* out of the box, and to have accuracy be a manufacturer’s goal, but even if I made a display in my own garage and carried it to my next-door neighbor’s, there still is no honest way I could guarantee accuracy without also walking next door with my meter and my eyeballs and making sure.
Regards,
Chris -
I wish the IRE terminology would just die a horrible death and go away. It has no relevance to anything anymore.
Digital video is digital video. 16 is 16. 235 is 235. There’s no IRE involved. Ever.
Regards,
Chris -
I had problems in the past with long clips when using an external USB drive while also connected with my camera via USB. Went away with SATA drives.
Regards,
Chris