Gary Adcock
Forum Replies Created
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Why are you re-encoding?
The final output should be the only place your are doing a re-encoding of the majority of the content. Just copying the files does not cause any issue only processing the file over and over again to new versions will cause damage, and my tests show you have at least 10 generations before you will be able to consistently find even the smallest errors.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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The iohd requires that you use ProRes as your timeline codec to get realtime playback via your monitor when using that device, that is what I assume your playback issue resolves from.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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Ok
You know the drill, machine specs, software and OS versions…
Are you using an easy setup or did you modify an rgb setup.What is your original? A Log file often looks flat while that single link will be under Rec 709 ( check my blog for a log recording vs. a linear rec 709 of the same clip.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance AssistanceChicago, IL
https://blogs.creativecow.net/24640
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Arri is not talking about anything beyond 60fps at this time, note the cameras only been shipping for 3 weeks or so I would expect to see higher frame rates on the later camera versions, the first one was designed as more of a utility camera with the later models offering Optical viewfinders (no lag) and more advanced processing later on. I expect to see those updates at least announced by NAB next year.
Red made a big splash with filmmakers trying to be there best, with Alexa, I am seeing the guy, really big guys at this, that said they would never embrace digital actually coming around to touch the cameras and have a look see.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance AssistanceChicago, IL
https://blogs.creativecow.net/24640
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[Steve sjao]
“comp in Lvl : betacam
comp out Lvl:betacam “Caution- this my be your issues,
The COMP OUT settings for NTSC formats should be SMPTE/10— NOT betacam
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance AssistanceChicago, IL
https://blogs.creativecow.net/24640
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[John Harris] “I am shooting anamorphic 1.5 squeeze on a 5D to obtain 2:35”
john, I have never heard of a 1.5 squeeze lens- are you talking about the 1.3 Hawks” that give 2.35 when shooting on a 16×9 imager?
for the record FCP does not understand rasters other than the standards of 4:3 and 16×9 for realtime playback from the timeline. So you will need to edit in squeeze mode to get the most out of what you shot.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance AssistanceChicago, IL
https://blogs.creativecow.net/24640
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I am sorry that you do not seem understand that we are in totally different worlds.
I am glad the tool fits your needs, that was not my experience with the camera.I keep referring to professional standards and the needs for mainstream, you bring up codecs and rolling shutter to obfuscate the issue I keep repeating.
You have never worked in a “Real” version of 60p by your own admission, so you assume what you are seeing is accurate, even though you have no accurate frame of reference to learn from.
it is as simple as you do not want to understand or accept that 1080 60p is PsF not P or that by you own admission your “60p” content will not correctly import into FCP ?
What the camera’s imager does is a wholly separate issue from how that content is captured or delivered to a display device.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance AssistanceChicago, IL
https://blogs.creativecow.net/24640
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[Dennis Couzin] “You ask: “Have you ever worked with 1080 50P/ 60P material captured in the conventional manner using a professional camera and recording system?”
Answer: Certainly not, and your example is irrelevant to the Panasonic HDC-TM700’s H.264 compressed 1080 60p material. “No it is not. Not in my world, it is absolutely required for the kinda of clients I have and the work I do for them.
If you don’t understand how actual 1080 50/60p content is supposed to work in the professional sense, based on the real tools that were designed to handle this format- how do you know that what you are doing is accurate?
Just because some manufacturer puts something in a manual something is does not make it so, I need go no farther that P vs PsF.I compared the camera we tested it to a known standard, using industry standard signal test equipment and from what I saw from that camera did not pass my standard for quality as compared to the “a” cameras that it needed to be matched up against.
“It is amazing that after I point out your 60p/60i error concerning data rates you still object to my original simple statement: “
Since you did not cite the Appendix in your initial reference- I mistook what you were saying.
I was trying to explain that the maximum compression in ProRes 4444 is 330Mbps per channel and averages slightly under that, since 444 and 60p Variframe (as 422) are only carried over 2 physical channels (hence the reason its called dual link)[Dennis Couzin] “But you assert:
“The compression level of a codec like ProRes does not change with the type of data being sent it, and there for negates that part the argument- the codec compression only scales with the type of codec-not with the content inside.”
Not at all. ProRes is a frame-by-frame or a field-by-field codec depending on whether the video is 60p or 60i.”I disagree- the frame and or field rate has absolutely nothing to do with the compression level of an individual codec, especially not when you are talking about a variable bit rate codec that is designed to never exceed the maximum allowable compression.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance AssistanceChicago, IL
https://blogs.creativecow.net/24640
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[Dennis Couzin] “Gary, I’m afraid you are confusing output/transmission (e.g. HDMI) where line doubling is reasonable, with recording (e.g. this Panasonic camera’s) where line doubling is insane.”
No I am not, you are not seeing the whole picture. I will ask you the same that I asked the original poster before you chose to call me a liar.
Have you ever worked with 1080 50P/ 60P material captured in the conventional manner using a professional camera and recording system?
As I said in the original posts cameras that have that ability are not something that is available to everyone. Hell the deck or recorder rental alone is usually more per day than the cost of this camera. Please realize that in the broadcast world this format is virtually non-exisitant and it requires a dual link or 3G connectivity to handle correctly.
” said Apple ProRes for 1080 60p uses 293 Mb/s based on the Apple ProRes White Paper dated July 2009.”
First off all 5 flavors of ProRes support 1080 @ 60fps, That number you mention is irrelevant without first defining which of the flavors of ProRes you are recording too, as that is the median average data compression level under VBR for the 4444 codec which has a maximum of 330 Mbps- whereas the ProRes Proxy codec averages about 39 Mbps but maxes at 45 Mbps.
“The numbers you cite are almost exactly the White Paper’s numbers for 60i. We’re discussing 60p here, not 60i. “
The compression level of a codec like ProRes does not change with the type of data being sent it, and there for negates that part the argument- the codec compression only scales with the type of codec-not with the content inside.
1080 60p 10bit Uncompressed runs at approx. 331 MBps (megabytes per second) and can only be captured over dual link or 3G
ProRes HQ at 1080 60p runs at about 61 MBps and can be captured over dual or single link.None of this will work correctly unless your editor is setup to handle the content correctly.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance AssistanceChicago, IL
https://blogs.creativecow.net/24640
-
[Dennis Couzin] “Gary Adcock can’t believe that the $1000 Panasonic HDC-TM700 shoots 1080 60p so he makes up a story about it line-doubling.”
Actually Dennis, if you read the post over again I said I tested via hardware as part of a project I was working on.
For the record most of the consumer HDMI specifications include line doubling to allow for the HDMI’s need for true progressive output when the incoming signal to the device is interlace, which is the case for all 1080 broadcast signal.
” FCP7 refuses to transcode the improper Panasonic AVCHD 1080 60p to ProRes 1080 60p)”
Could this be because the signal is not what it says it is? Or did you not properly configure your editor to handle the format.
I can and have done 1080 60p captures directly into FCP via a Kona 3 card from Professional HDCamSR master recorded from a Sony F23.
[Dennis Couzin] “Apple ProRes for 1080 60p uses 293 Mb/s. “
That does not correlate to any data thruput numbers I have for any released version of ProRes.
All ProRes flavors are measured in Mbps and the number you posted does not correspond to any of the published Apple numbers for the compression- If I remember correctly these are the data rates as published.
PR4444 @ 330Mbps,
PRHQ @ 220 Mbps
PRSQ @ 145Mbps
PRLT @ 100Mbps
PRPX @ 45 Mbps.I state again that even at the high end, there is little or no support for handling 1080 60p content, which as a professional signal requires dual link HDSDI or 3G cabling and monitoring to accurately handle the image and most cameras that use this high a frame rates for doing offspeed capture and playback.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance AssistanceChicago, IL
https://blogs.creativecow.net/24640