David Battistella
Forum Replies Created
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Oliver,
Thanks for posting back. I wasn’t trying to start anything, just more curious about Nitris workflows 🙂
I like one of the slogan’s on Marco’s site.
Quality is cool but content is king. I think that sort of applies here.
Peace.
David
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Why don’t you create an easy setup now and then revert back to this when you have any further problems?
David
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Oliver,
I am just trying to get this. You say.
“If we are talking about DV25, then it is native with an Avid file wrapper. DV50 and DVCProHD are imported via FW and rewrapped with an MXF wrapper.”
Is it captured or digitized via firewire or imported. if it imported, where is it captured?
In terms of image quality, there are third party solutions like FINAL TOUCH HD that are extremely clean and very powerful Color correction tools. It’s not the all in one box aproach, but the 10bit images from that workflow are beautiul.
I though the Nitris was an 8-bit solution.
Why is the raw picture quality silly?
Is it because FCP is such an awful scaler?
Is the rendered media in FCP somehow inferior to the rendered media in an AVID product?Just wondering what avid does to the picture to make it so much better.
David
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Was is captured via firewire or uncompressed. I am not sure but this sounds like an rp-188 TC problem. it sounds like FCP is seeing the Varicam footage as speed footage instead of regular varicam footage. the footage flags are in the RP-188 TC. so I suspect that there is something being read by FCP from that TC stream. Try turning that TC off in the KONA control panel and recapturing a few clips from the deck.
David
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Here is a question. Is the AVID capturing all of these formats in a their native codecs? Because if I use one FCP preset I can capture any format I want to that preset.
IE: with a 10 bit uncompressed preset I can capture DV, BETA SP, HDV and DBETA sources and edit them all in the same timeline. AVID has always had proprietary codecs to go along with their proprietary hardware. I know that their DV codec is proprietary so I am sure this is the case with the others as well. Just what is AVid doing with your footage to make it all compatible?
Maybe it is just all daughtercard accelleration?
Is all you are doing with AVID is capturing the same stuff into one codec? (if you want to see how bad those codecs perform then just visit marco solorio’s codec site http://www.onerivermedia.com) if that is the case I can do that with FCP any day of the week.
I’ll put a 8 or 10 bit frame from FCP against any AVID for picture quality alone.
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You could theoretically edit to tape without rendering if you wish. If there is a light gren bar in the timeline then you can print to video@full rez, but it is nice to render everything. I always do this on an AVID as well.
No mix and match media in an uncompressed timeline. If you drop DV into the uncompressed timeline you will be seeing the red bar. The frame sizes are different too. Unompressed 10 bit is 720X486 but you loose six lines in DV 720X480.
David
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The aja has the following realtime acceleration.
It helps DVCPRO HD footage
It does real time up and down conversion.if you are planning to use FCP you should be made aware that “most” of the RT you get is a combination of the speed of the drive system (this determines how many streams can be had) and the speed of your mac. so if you want the most real time, you by the fastest mac and the fastest drives.
The KONA 2 accelerates the performance of certain DVC codecs (check teh website for which) and it will save you a ton of time and rendering by up and down converting on the fly.
David
PS with a 4 gigabit fiber card and a mac g5 2.7 gig I can pull about 10 streams of dv before having to render (the drive is a HUGE 4210)
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Ben,
Graeme Natress ( http://www.nattress.com ) makes a chroma filter for DV to reduce the “edgies” and smooth chroma of DV footage before applying the key. I am not sure he has tweaked the algorithm to suit HDV but it may be another solution for you if you are on a budget.
The thing is you will be adding some render time, but it might help you improve the chroma sampling of the HDV and get rid of the “blockies” before you try to key.
David
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The redbox looks to be about 2.5 time the price of the flying cow box.
David
https://www.m-audio.com/products/en_us/FlyingCow-main.html
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This is a very “normal” FCP thing. What I always do when I open edit to tape is I immediately click on the viewer window. You will notice that the edit to tape window shows you color bars with a black bar running through it that says “preview disabled”. You then drag onto this window.
I have tried other ways around this including putting the deck in PB mode vs EE but this has been the easist way to get rid of the little annoyance.
David