David Battistella
Forum Replies Created
-
Carmello,
You have a huge problem on your hands. one that I had recently. The big problem is that you have to take an interlaced frame and turn it into a progressive frame. You also have to change the frame rate at the same time.
This is no easy task. I do not understand why anyone thinks that shooting interlaced frames for slomo into a progressive 23.98 timeline is a smart way to go about it.
Basically, after checking many avenues what I came up with was a way of converting the footage to 23.98 using compressor and the optical flow technology to smooth the motion artifacting. This did not make the footage look any better in slow motion it just made it decen enough to use in a 23.98 timeline.
The only 59.94 slomotion that works as advertized is the varicam slomotion. If the footage was shot varicam you would have no problems.
The biggest issue will be geeting interlaced to look good as progressive.
You might want to have allof the footage run through a box like this:
https://www.rossvideo.com/rossgear/rossgear_md/rossgear_md.html
Becasue here is the even better news. You can not dub from Sony 59.94 to SOny 23.98 without a major conversion taking place.
Very complicated stuff, with no easy answer. Sorry.
David
-
If this question was amied my way then I would say no. When capturing firewire It is not possible to capture it as DVCPRO50 codec. WOuldn’t that be nice (preserve all of those nice features like DV stop/start detect). This is why I specified capture DV first and then transcode to the codec you are workin in.
David -
Walter is right. I wasn’t as articulate has he was in his post, but you do have to realize that the DV needs to be moved down the one scan line. On a projected output you might notice the six line difference, but it is out of safe area for broadcast.
David
-
HI,
Walter is right. You can place DV in an uncompressed timeline but it will need rendering. you will have to deal with the scaling issue if you are going from a 720X480 DV source to a 720×486 SD601 timeline like 8 or 10 bit uncompressed.
One way to solve this is to use compressor to batch convert the material to another codec. You could also use media manager to do this. Open all of the clips in a project and media manage (recompress) the clips to a new project. FCP will handle the scaling for you.
The downside, DV 3.8mb/sec 10bit UC 27mb/sec, So six times more storage to store that DV footage.
The really nice alternative is to use the DVCpro50 codec for projects with DV. It takes dv up to 7.8 MB sec and now you are in the 4:2:2 color space. THis codec is the codec used by camera’s like the SDX 900 which is speced at Digibeta quality. I do alot of finished work in this codec because of it’s efficiency and it’s good performance with rendering. Totally acceptable broadcast format at 1/4 the size of 10 bit UC.
DV, being 8 bit DVwill still have banding issues in 10 bit so DVCPRO50 is a nice alternative.
Lots of real time withthis codec as well.
David
-
If you do not want to rerender the graphics in the sequence then you can create the graphics in the codec that the sequence is edited in.
I use annimation all the time. this is also teh default codec for Livetype. It’s good because if you are working in an Offline online environment there is never a need to recreate the titles, they just have to be relinked and re rendered into the native Timeline codec.
People have been experiencing problesm with Photoshop graphics in ten bit so you might want to runa few tests.
render the same file out with three differen codecs,
Say
Annimation
PNG
Apple 10bit ucand drop them all into a 10bit uc timeline and see what works for you.
David
-
I have an Aurora Pipe Studio and I can tell you that this is a really nice feature. You should shee how good some of the H.264 stuff looks on a broadcast monitor. I think that this product inovation came out of all of the work they do seeling to audio guys who wanted the v-out to be foolproof.
I’d love to see this in the KONA 2 driver. I kind of get the idea that Apple might not be too keen on it though, for piracy reasons, I suppose.
David
-
The QT sorenson compression with compressor is nice.
Compresion is full if trail and error and the constant trade-offs depend on your specific needs:
It all depends on what you want
1. Larege picute with high frame rates/lower quality audio
2. Smallest possible file size with higest Audio and video
3. Half the frame rate medium sized picture and low quality audioThe bigger problem is calculating the frame size compared to teh length of program.
H264 is by far the nicest web delivery with small file sizes and very high picture quality, but it takes a while to encode and not everyone can view it.
David
-
Walter,
Not going to argue with you ont he rendering issue with DV. Obviously, we all want to get out of the 4:1:1 space for rendering and GFX and titles etc.
So the way I am understanding this is this way.
1. You drop any DV clip into a 8 bit timeline on a cinewave system and it is realtime in that sequence.
2. You are now operating in the 8 bit UC colorspace so the DV is not going to loose anything.
3. You add a Title or RT FX and it is 8bit UC
4. You render the sequence and it is 8 Bit UC
5. Cinewave did not have a hardware proprietary way of doing this?Why does this not just exist in FCP now then? It had to be a hardware only solution requiring on-board daughtercard processing. I am not saying this would not be a nice feature, but is it really likely?
David
-
Walter,
Was Cinewave doing this as a hardware based solution with proprietary codecs? Could you do all of this with the Apple codec. I am not a former Cinewaver and I have never seen this up close.
It sounds like CInewave got caught in the “Apple RT engine” release of FCP. Cards with daughtercard processing like the Aurora Igniter, which was doing 24frame editing, RT color correction, RT downstream keying, and a short list of FX support by the card (remember the ICE borad) This all became redundant with Apple’s new plans for FCP with RT. (great for the DV user which makes up about 80% of FCP’s user base.
Even with the RT engine I am not sure that we are that close to seeing this kind of thing in RT in FCP soon because Apple has made it difficult to plan for non Apple based processing.
That said, I forgot to mention I’d like to see an improved titling interface in the next release. 🙂
Glad to know it went well last night. Would love to see it on the circuit.
David
-
Ok Walt.
I hear you, but here is the deal. I own a Piep Studio as well and this is what is true for that product. When I cut anything in a DV timeline and then shoot it out to tape, the signal going to tape is a 10-bit uncopresed signal, I am sure that is how the KONA works as well. FCP hands the file to the capture board, anything going out the board has a minimum quality to it.
If I use the KONA 2 8 bit preset for DV then it’s 8 bit that is going to tape ( D-beta or beta) not DV. That DV signal is being encoded by the card to get to tape.
David