[Francois Xavier]

thanx Chris

we are all behind you

Documentary Director & Editor
Paris /France

[Francois Xavier]

so Chris after some time with the LH could you post some feedback ?

Documentary Director & Editor
Paris /France

[Francois Xavier]

ok, so the first tab post was from THE OTHER David Battistella…

if you wan’t precise treat
you’ll get messy thread

thank you for helping

Documentary Director & Editor
Paris /France

[Francois Xavier]

Gary, are you still there ? (Oct 27 post)

you wrote
[gary adcock] “in the new world it is called 1080i50 / 1080i60 are the current naming conventions for 25 and 29.97 FPS content.”

Darth was asking about 1080/25p / reading you I understand that 1080i50 is progressive ?

Documentary Director & Editor
Paris /France

[Francois Xavier]

Graeme,
would your recommend the adding of titles, graphics, motion play arounds & so on before or after “ugrading” Timeline to 8-bits uncompressed ?

Documentary Director & Editor
Paris /France

[Francois Xavier]

my car ok

Documentary Director & Editor
Paris /France

[Francois Xavier]

maybe just a beat of VERTICAL blur will do the trick (1pt)
less offensive than gaussian, smooths out the trace of the scan-lines.

Documentary Director & Editor
Paris /France

[Francois Xavier]

(gosh I thougt this was over)

DAVID
I like your tab, but…
If you compare with Jeremy, Gary & Walter useful contributions some LH (therefore Kona 2) converting on the fly ability is MISSING.

On the last section instead of:
“FINAL CUT PRO (TRANSCODING ONCE CAPTURED)”
should we read :
“FINAL CUT PRO (TRANSCODING ONCE CAPTURED) WITH KONA ON BOARD” ?

Documentary Director & Editor
Paris /France

[Francois Xavier]

ok Folks, I’ve started this, won’t do it again

I think David closed it
thank you David

Documentary Director & Editor
Paris /France

[Francois Xavier]

Bottom line (I hope)

so “up-converting” a finished looked TIMELINE in FCP from HDV or DVC HD Pro to-> full HD 10 Bits is possible ? but only “software inside codec working ” based ? ? ?

The fact is: I live in a SD PAL world (so far) / my work is delivered in digibeta for television

So, if I have an HDV (God protect me !) or an DVC PRO HD (I prefer that) “rushes/based” project (an final timeline) will I be better off :

– to live it DVC HD PRO for color grade, title & graphics
– to convert that timeline in uncompressed 10 bits SD Codec (sofware based) as soon as I can for color grade, title & graphics and then regular SDI out ?
– to attach a stone at the end of a short rope, close the other end around my neck and jump into the Seine river ?

Documentary Director & Editor
Paris /France