Dino
Forum Replies Created
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In capture settings, under the edit tab > enable edit to timeline, turn this off. That should do it.
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I can’t speak to the specific multiprocessor ability of any of these but a dedicated encoding program will give you a better result in less time.
Episode
https://www.telestream.net/episode/overview.htmor Squeeze
https://www.sorensonmedia.com/video-encoding/are good things.
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DS originally stood for “Digital Studio”. I think for a while now it’s just DS. Isn’t meant to mean anything.
DNxHD is probably a similar thing, it stands for DNxHD. If you want to break it down. The “HD” part is obvious. the DNx? When the Adrenaline and original Mojo came out Avid started identifying their hardware as DNA, Digital Nonlinear Accelerator, even though it didn’t really accelerate anything. The board that allows HD in the Adrenaline is the DNxcell.
Take what you will from that. I think mostly what it represents is a technology company that let the marketing department become more powerful than design and engineering.
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Further, exporting to QuickTime is not really an Avid function. It’s just throwing hooks into QuickTime. You will get much better performance using a dedicated encoding application.
Multiprocessing and Multithreading has a long way to go on most apps. My first sit-down with a 3.X Symphony I went straight for the effect which has been historically cripplingly slow, Pan and Zoom. Set up my timeline, loaded in a still, set up a move, hit render, and, molasses. Opened Activity Viewer, one CPU pumping, seven just sitting as still as the progress bar.
We’re not there yet.
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Having a 10 bit file does not mean it contains any 10 bit information. How was it shot? How was it brought into the system? How was it processed in the timeline? How is it being viewed?
HDCam, DVCProHD, XDCam HD, XDCam EX, HDV… all 8 bit formats.
Even native HDCam SR brought in as 10 bit could end up going through some 8 bit processing in the timeline depending on certain settings and what was done to it.
An older or cheaper LCD monitor might be only a 6 bit panel. Even most of the best LCDs are 8 bit. Most graphics cards output 8 bit.
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How are you monitoring HD versus monitoring SD?
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Yea, what’s the minimum system we can get away with? Any home brew builders out there want to come up with the smallest, cheapest package the Ultrascope will work in? Might be a new business opportunity for you.
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I can make this work in an Avid. In AE pre-comp your graphics build and place it over black in another comp. Then apply a levels effect to the pre-comp, set output black to 16 and output white to 235. Render out to Animation codec. Import this into an Avid while setting the source as 601/709 (rather than RGB, which it is). The conversion on import will restore the white and black points. Since the background black wasn’t altered by the levels adjust, it gets pushed down to the bottom (-10 IRE).
Following the same logic but bringing the clip into Final Cut (regardless of the codec it was rendered to) doesn’t work as it is not possible to push black below 0 IRE. It simply clips at that point. Perhaps a third party color corrector might allow this?
As AE processes in RGB, there simply isn’t any black less than black. Blacker than black and whiter than white (which FCP does allow) are built into video standards (analog and digital) as a safety margin.
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After Effects processes internally as RGB for which black is 0 (of the 0 to 255 8 bit values). Final Cut (and all instances of YCrCb video) put black at 16 (again, of the 0 to 255 8 bit values). That is, an 8 bit value of 16 equals 0 IRE.
Is your goal output to tape graphics over super black? If so, have you confirmed that superblack is preserved on output?
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I agree, find a facility. There is no way you will get the shutter in the projector to consistently line up with the shutter in the camera. If you must do this, shoot at 30i to increase the number of samples in time. This will give you a better shot at landing most of the film frames.