Chris Wiggles
Forum Replies Created
-
Think I answered my own question with the Export settings, just changed it to 720p and voila! Duh. 😐
I wonder though, if this causes any degradation compared to doing everything 720p to begin with…? Seems to look pretty good to me!
Regards,
Chris -
Just presentations and web content in a conference room?
You want an LCD, not a plasma.
I have been a big fan of the thicker samsung LCDs (I think it’s like the 650 series and higher, I think the thousands series are the really thin ones you want to avoid). Pop them into movie mode, warm1, and they are surprisingly accurate for non-critical viewing without even a full calibration. They look very nice.
Avoid the really thin stuff with the side-lit LED, they have crud CR and really blotchy ugly blacks.
Turn the backlight up all the way for the bright lighting if you want, or down a bit to taste.
Regards,
Chris -
Please be more vague.
Regards,
Chris -
You want to create a standard-definition 16:9 anamorphic DVD (not letterboxed).
Regards,
Chris -
This appears to be a small very low-end samsung monitor.
And I presume you have not calibrated it in any way.
In addition to not knowing how you have it connected, nor knowing how you’re trying to use it (for what purpose), not sure how to be helpful beyond saying that you have a very low-end monitor that isn’t calibrated and isn’t going to give you anything close to an accurate image.
Regards,
Chris -
I have not solved the problem yet.
I tried manually copying the entire folder from the camera to a local hard-drive, then Log and Transferring from that to a USB drive. This eliminated one USB step from the camera to the Mac, but this did not help.
I have since purchased another internal SATA drive, so I may try this again using only internal drives to fully eliminate USB if that is the problem.
What I ended up doing was simply transferring over chunks of footage in 10-minute chunks. I only had one or to failures on those which were readily fixed by re-doing those particular pieces in 5-minute chunks.
I haven’t shot any new footage, so haven’t had a reason to test using the internal drives yet, so hopefully that will work, otherwise I’ll just be doing the 10-minute chunk method.
Regards,
Chris -
It appears to me, at least I have always assumed, that FCP displays much as QT displays video on playback: it expands the range to 0-255. But that the actual video is 16-235.
So for instance if you just pop a DVD in, or a test DVD, your computer will re-map that on playback by default to the 0-255 range, thus clipping below 16 and above 235 in the video.
On PCs, depending on video card and rendering options, you can actually maintain the video playback at 16-235 with no re-mapping. I’ve never tackled this question on a Mac.
Because you can clearly excurse beyond 100%, and below 0%, and maintain that properly with output, which is impossible to do if FCP is actually doing anything in 0-255 beyond simply expanding the range while playing it back for you so it matches the desktop and everything else (which is all 0-255).
I am going to have to do some digging into this though, because I would hope there is a way to maintain 16-235 display properly for correct monitoring of the ACTUAL video, not the re-mapped/clipped display of it.
As far as Rec709 and broadcast video: video is 16-235, period. You NEVER want to be mastering video with black at 1 (or 0). Reference black is at 16. You should have nothing of image significance below 16. Nominal reference white is 235. However slight excursions beyond 235 for either heavily saturated colors or specular highlights and things like that are not a problem. If you are mastering at graphics levels of 0-255, then anyone that is handling video properly will have severely clipped blacks because your blacks will be submerged well below the black-level of an accurate playback system which will be correctly aligned to digital 16 for black. And god forbid you master to 0, and then that gets expanded to graphics levels, an entire 15 steps of black details in your content will be clipped off permanently forever and lost altogether.
Regards,
Chris -
Color renders entirely new files, and gives you an entirely new sequence linked to the new files that are rendered out from Color. All your original media files are still there and unaffected. You should be able to open the old sequence, the one that doesn’t say ‘from Color’ without any problem.
If for some reason there is an issue, you can simply relink that media to the original media which is all in the same place you left it originally.
By the way, you can set where the rendered Color files are being saved and open those clips directly, or link to them or whatever as you please.
Regards,
Chris -
[Bret Williams] ” I thought his post was anything but vague. He edited in 1080 HD. He made a widescreen disc which was either SD or HD. He wanted to know the best way to edit some SD material into his timeline. Should he reedit in SD or add the HD material to the HD timeline. In the end, the only thing he didn’t know wS the format of the disc other than it was 16:9.
BTW letterboxed is not a DVD format. DVDs are either 4:3 or 16:9 (anamorphic). There’s no APEC for letterboxed. Letterboxed is nothing more than an artistic choice, but it would be considered a 4:3 disc. Not widescreen. There aren’t any letterboxed Hollywood movies for example. Letterboxed is a description of how your DVD player displays a 16:9 disc on a 4:3 screen. If a DVD is labeled widescreen, it means 16:9 anamorphic, not letterboxed.”
🙂 Got it!
Sometimes my reading comprehension is a little slow…
And yes correct on your DVD descriptions.
Regards,
Chris -
No you can’t use a blue-only mode to calibrate a monitor.
I don’t know why people think this is calibration. The ONLY thing blue-only mode is for is to align luma/chroma amplitude and phase in an analog NTSC system or equivalent. It is completely useless in the modern world, practically. And the output cards with blue-only mode are even more useless because if you’re actually outputting component video, the blue-only check on colorbars has to happen AFTER it gets decoded BACK into RGB inside the TV, not at the output card. Utterly useless.
And no you can’t just take a monitor out of the box and plug it in and call it good. You MUST calibrate it to D65, and hopefully it has a CMS so you can have accurate chromaticity. Most computer monitors are WAY too saturated for Rec709.
Regards,
Chris