David Roth weiss
Forum Replies Created
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First, that’s an oversimplification – more accurately stated, it CAN look better, but only in certain circumstances.
There are, or were, many different DV cameras marketed during the industry’s DV stage of development: consumer, prosumer, and professional models, some were superb, some just decent. The good ones were actually very good, and down-scaled HD would most likely not get any better.
However, there are a couple of reasons why some of the lesser DV cameras may produce inferior quality to downscaled HD. 1) the color space of HD cameras is typically 4:2:2, while DV cameras are 4:2:0, and thus the footage starts with much greater resolution and much more color information than material acquired on DV. And, when downscaling, the HD material samples all HD pixels, known as super-sampling, which gives the down-converted SD a bit of an advantage.
Make sense?
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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You seem to be operating under a mistaken belief that you and your project will gain something by having it color corrected/graded in Resolve, even though the operator admittedly has no experience with the application. In fact, you would be much better off, for any number of reasons, by having an experienced colorist do the job right in Premiere.
What exactly do you believe the advantage to be for you in using Resolve? What app is your prospective colorist actually proficient with?
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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It never hurts to ask…
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Hey Alex,
I understand your question and wish I had a really elegant response for you, but I don’t.
What I do is to move the clip to another track, extend it well beyond where I really need it, add key frames on both the head and tail, then I trim the clip to the length needed.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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A disk image does not allow incremental backups of just the new material, which is a tremendous timesaver. So, it’s not necessarily hard drive space you should be concerned about, but rather the amount of time necessary to do your day to day backups.
With regard to creating a RAID 0 for speed, that’s certainly no issue if it’s just for backups of material you have stored elsewhere. RAID 5 would be a bit more safe, but since it’s just a backup it’s not such a big deal.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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When I was at Promax we always used two controller cards for every NAS system we would build that included an LTO, a RAID controller for the hard drives and a separate HBA controller for the LTO. Would that not solve the problems in this case?
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Yep flaky, because they connect via FireWire 800 and eat all additional FireWire connectivity as well.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Have you tried trashing prefs???
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Premiere – 30-day free trial and purpose-built for easy migration of FCP projects.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Your canera shoots two versions of 24 fps video – the PF24 generates 60i files encoded in order to be able to apply a pulldown removal; 24p generated true progressive output at 23.978 framerate without pulldown.
Sounds as if you shot at PF24.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.