Gary Adcock
Forum Replies Created
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[paul nevison] “Now i know DVCPRO HD is a compressed HD codec….but how compressed is it? I mean is it visually noticable or only noticable for boffins with their scopes on :-)”
it is a 4:2:2 compression, it is being used in a number of worklfows without incident, Even Walter Murch used it for editing Jarhead < apple.com/pro/film/murch2/index.html> Many people are using it instead of 8Bit UC because of the quality
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[paul nevison] “obviously putting it side by side with HDCAM SR there will be a difference but in real terms can anyone really tell the difference say compared to the other non compressed HD codecs?”
Well SR is not a compression, it is a Tape format not accessible to the end user. The same footage shot the same way will not get better by laying that footage to SR.
Acquisition quality is independent from this as if it looks bad when you capture, it looks worse when you compress.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Le Coyote] “I don’t really understand why is there a discussion whether HDV is broadcast. Of course they won’t take HDV tapes, but that doesn’t mean you can’t shoot HDV and hand out DVCPRO HD or HDCAM. “
In the environment we have been talking about that will not work,
Decisions to reject material are made not by what you tell them is on the tape, but how the content looks on based on a technical analysis based on a variety of tests.
Many contracts have limits written into them for how much “non-standard” or “consumer video” original material can be included as part of a show with penalties for having too much ” illegal” {standards not pilfered} video content is included.[Le Coyote] ” The Sony Z1 gives a very nice HD picture. It’s surprising… of course it’s less sharp than a Sony F900, but subjectively it’s very very nice.”
It does take a nice picture, I have worked with one for a while — yet this is not a subjective decision it is a technical one, I know of shows that have been booted by the networks because the tape ended on the wrong field of the frame! (and try and judge that one subjectively!)
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[gary adcock] “Download the Kona TV app we about at IBC”
that would be what “we talked about”
sorry operator error.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Erik Lindahl] “Is there any way of getting FCP5 and a Kona LS under Tiger to output the animation codec?”
Download the Kona TV app we about at IBC it will playout Animation codec files directly from all aja products.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Shane Dillon] ” But what about getting it to an online system with more/better tools? Is it best to output a file (like a quicktime) or playout the whole timeline to D5, use that as the source, and a cut list edl to provide edit marks for color grading?”
The Quantel products are great and they accept FCP via Automatic Duck OMF export, Discreet products use XML direct from FCP.
Products like Silicon Color also allow for color grading on your Mac workstation via Kona, the XML files are sent direct to the grading then FCP reimports the data file and relinks the footage.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[john sharaf] “he “dirty little secret” of the Vaicam is that at 24p (when brought into a 24p FCP project by firewire) the origional bandwidth of 100mb (DVPRO100!) is reduced to 40% (or 40Mb) because only the flagged frames are brought in (40% of 60fps=24fps). “
John – your not supposed to let the cat out of the bag.,.
Shane the other thing to consider is that the size of the files and amount of compression of the DVCProHD content is also dependent on the 960×720 frame size that is laid to tape for 720p material.
Even people like Walter Murch are saying that the 720p|24 compression is the best offline format for film he has ever worked in. < apple.com/pro/film/murch2/index.html>
Granted it was acquired as 35mm >1080p24 (D5 Master) > 720p24 and all of Jarhead was cut this manner.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Kelly] “When High Definition cameras are going for under $5000, are you surprised that people choke at paying $20,000 for a monitor?”
Agreed, it is a horrendous amount of money to pay for a display, but then not everyone on this list is using HDV (or is in the US) either.
But then again, do most people realize how many HDTV displays {“consumer”} offer the full resolution needed to be able properly judge the full 1080 scan line image size without scaling? –I believe the current count is something like 15 or so! So there is not much available to monitor the footage we all shoot, No matter what type of camera it is captured on.
The other side of this issue is that those $5000(usd) cameras are not considered an HD camera when delivering your content for transmission when delivering content for Cable or Broadcast .
Nor has the number HDV units sold exceeded the total number of actual “broadcast caliber” HD cameras from then usual suspects – Sony, Panny, Icky, Thompson – but we all now that is only a matter of time, with a few months until that is no longer the case.I am not against using a Cinema Display for Cutting, I do it everyday using AJA’s HDP, but this thread started talking about doing editing AND color correction. Even Apple says that their displays are not the best for that when the content being monitored is Interlaced or in the NTSC color space – there is just no way to set black levels properly on Apple’s or most other DVI-D computer displays.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Shane Dillon] “Does the 1700 deck have a Firewire option for capturing to the FCP system?”
No, but the Kona 2 board can capture via SDI to the DVCProHD codec.[Shane Dillon] “And would I be working in SD for offlining on FCP, or am I forced to work in HD if I have variable frame rates?”
Why? at 720p|24 the data rate for DVCProHD is is only 20% more than DV25. why bother dealing with TC slippage or poor quality.
I thought you said money was not an option. there is no reason to work “offline” in SD in when shooting 720p from the varicam, it is really just a waste of time and money.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Shane Dillon] “Does the 1700 deck have a Firewire option for capturing to the FCP system?”
No, but the Kona 2 board can capture via SDI to the DVCProHD codec.[Shane Dillon] “And would I be working in SD for offlining on FCP, or am I forced to work in HD if I have variable frame rates?”
Why? at 720p|24 the data rate for DVCProHD is is only 20% more than DV25. why bother dealing with TC slippage or poor quality.
I thought you said money was not an option. there is no reason to work “offline” in SD in when shooting 720p from the varicam, it is really just a waste of time and money.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Shane Dillon] “Final Cut Pro or Avid? any special cards? any Framerate convertors? A Panasonic 1200 deck or a 1700, or both?”
FCP seems to be the Offline tool of choice for Varicam users,
an FCP system with a Kona 2 card allow you to handle all of the frame rates available to the varicam at what ever compression you choose to use with out the need for the Panasonic Hardware FRC, which is pretty much required when working on Avid to access the Variable Frame Rate data correctly.The 1200a deck is not a mastering deck and only supports 4 tracks of audio, the 1700 does vastly more (8 tracks audio – 1080|24 P output from a DVCProHD and access to longer tape stock)
If you do not need some of the bells and whistles on the 1700 – the 1200 is a fine deck.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA