Gary Adcock
Forum Replies Created
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Dennis,
what is your issue here on the Cow?
you have now charged into multiple forums and start attacking the moderators directly, all the while offering convoluted technical jargon that is often incorrectly identified and on multiple times grievously incorrect.You seem to know only what you have read on the internet and it seems that you would rather argue about data rates and encoding issues rather than as it was eloquently stated [Michael Gissing] “Like all these techno nerd debates over numbers, the forgotten element is what does it look like. “
Do you actually work with any of the technologies you are pontificating about? Your own admissions here state that you have “seen a Red camera’ but not actually worked with one. You challenged me to the point of calling me a liar about my testing of a consumer camera that claims to do 60p, but that argument stopped when you had to admit that you had no reference of knowledge of how 60p really works to judge against.
The Cow is meant to be a place of shared knowledge and giving, not a battle ground, where someone like you with what appears to be limited amount of technical knowledge, but seemingly no practical experience with the actual tools we are discussing can gain from the experience of others.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Nate Stephens] “Or was he just lusting er dancing with it. “
ARRRGGGHHHHHH You Caught me….
Thanks Nate, working on a full blown review for the Cow Magazine as we speak, and wait- we have not started talking about the workflows yet!!
thanks again.
gary
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Michael Sacci] “Question is why does the Kona frame buffer see this as DVCProHD?”
I have seen this on non intel computers or on files that were processed on non intel computers, since ProRes is a scalar codec the lower powered machines can only handle so much of the processing in real time.
FYI – do not send that thin raster prores file to anything- even color hates them.
you know the drill…
facts and figures on machine, OS software.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Joseph Owens] “How and why would Dual-Link (HD-SDI Kona) be involved in this process?”
2K is traditionally passed over Dual Link though there are now cards that handle the 3G HDSDI spec that allows for 2K info to be passed over a single 3G HDSDI connection.
The control panel for the kona needs to be set to the native file size to properly convert on output, hence the need to understand from what format -to- what format.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Dennis Couzin] “This is getting silly.”
Sure is-
Then explain to me how you can subsample RGB.While a video signal in the Y”Cb’Cr’ color space allows for color sampling since the Chroma information is separate from the Luma.
In the RGB color space all channels hold both Chroma and Luma – therefor reducing one of the colors for subsampling also reduces the associated luma for that channel.
Preprocessing of the signal off the imager uses the GRGB “bayer” pattern to increase the dynamic range of sensor. but the image is not being subsampled- actually the Luma is being oversampled to expand the DR of the imager.
[Dennis Couzin] “This is plain false, both for video and for vision. Just look at the definition of video luma:
Y’ = 0.299 R’ + 0.587 G’ + 0.114 B’ “You are talking about the Digital Component (its video in the Y”Cb’Cr’ space not RGB) so that the Luma vs Chroma is allowed to be subsampled since it is.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Keith Pratt] “I wasn’t aware something could be both RGB and Rec.601 at once but assumed this was some sort of bastardisation of that standard (perhaps just Rec.601 gamut or something).”
yeah,
welcome to the DSLR, one is the camera setting the other is the file playback setting.the canon cameras record the image using a REC 601 color space & gamut
the files are handled and compressed as 15 frame LongGOP at 4:2:0
then recorded in a Full Range (0-254) SMPTE RGB file as H.264
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Dennis Couzin] “Is the RGB really subsampled 4:2:0? “
There is no such thing as subsampled RGB. You can reduce the bit depth but not the sampling.
[Dennis Couzin] “That’s a horrible subsampling from the visual standpoint and another example of the identification of Green with luminance even though Red is a significant contributor to luminance and therefore to visual sharpness.”
Sorry no, not on this planet.
Red contributes to the contrast but not the luma in video. Much like the human eye, the contrasty nature of a red light and its rather short wavelength have the effect allowing you to “see” more, but in reality you are seeing is the edge contrast rather and actually luminance. The longer wavelength in the Green spectrum actually allows that color to hold both luma and chroma, whereas red and blue with shorter spectral gamuts being on either end of the spectrum have less effect do to the smaller wavelengths.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Keith Pratt] “That’s not really true. If you recompress an H.264 to ProRes, the H.264 has to be decompressed before it’s compressed to ProRes. So you’re essentially working with uncompressed every time you compress/recompress.”
Sorry Keith
Thats incorrect, when converting from H.264 to ProRes the system works in a decompressed version, not an uncompressed version.The QT engine is designed to handle the conversion without going thru the legacy UC codec structure, thats why the conversion to ProRes does not suffer from the QT gamma issues
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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Wayne
you shot yourself in the foot by converting the HDV to Uncompressed for the DVD, you have hit what we all call the QT gamma bug, that is caused by a mathematical rounding error in the legacy of Quicktime.
I am betting that if you try the same process again using ProRes as the conversion codec your problem should be solved and you will have more disk space to use.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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shade with a small desk fan.
When I know I am going to be outside on a hot day I go to the local kids or sporting goods store and buy up all of the instant cool pack they have for sporting injuries, they tend to be cheaper than the ones in the drug stores and will keep the camera / recorder cool for about an hour each.
Just Remember that cold things on hot days gather condensation.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640