Graeme Nattress
Forum Replies Created
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Actually HDV would chromakey better than any SD format if you key in HD and then shrink to SD.
BetaSP isn’t really suitable or has the resolution for widescreen anamorphic work – stick with DV or Digibeta as a minimum.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Thanks for the clarify!
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Specifically HDV720p is one of the very few square pixel formats out there with the correct 1280×720 square pixels. Most affordable HD formats cheat. This one doesn’t.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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That’s going to get tricky when we get to FCP30 and have to borrow a time machine to find our FCP1.0 serial that we’ve long since lost…..
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I’m talking about how all 24p gets broadcast, as 29.97fps with 3:2 pulldown. That pulldown cadence needs to be constant or else you upset people with flat screens or video projectors. Best way to achieve that is to edit as 24p and add the 3:2 on way out to tape, and then it’s totally constant. You know what I mean!
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Dark green full RT here….
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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What if the broadcaster has a requirement (as they should) for any 24p material to have a constant 3:2 pulldown cadence? This is vital for anyone watching on a modern flat display as otherwise you’ll probably get a blip on each edit while the pulldown remove circuit in the display tries to figure out what’s happening to the 3:2 pattern every few seconds as you cut, cut cut.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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If you do HDV transcode to ProRes for editing, you’ve lost a little quality for that render, but you’ve added no effects. If you put native HDV in your timeline (and these days, we tend to colour correct every shot, so every shot has an effect on it) you only get that one render to ProRes right as you render.
Are you mastering back to HDV – you’re in for a hard time no matter what. Mastering to HDV is painful in the extreme and not really recommended. It might be easier from a native timeline, or might be easier from a ProRes one – never tried so don’t know. I don’t intend to ever master to HDV myself.
I don’t know if you get slower RT performance on the new mixed timeline or not. I’d doubt it though.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Yes it wil play back in real time and you get RT effects also. That’s the new super-timeline feature in FCP6 for you. All old rules have now changed.
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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On Your BM or Kona card, go into it’s control panel and turn off video desktop. It’s the feature that allows you to use your video monitor as a finder monitor. Turn it off. Color can’t use that as a second display as it’s not GPU accellerated.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP