Graeme Nattress
Forum Replies Created
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NTSC upsamples DV 4:1:1 chroma to 4:2:2, so although it you make the DV look better it would make the graphics look worse, so I’d leave it off.
As for auto-scaling – it should also work for the uncompressed too.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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They’re just tools. It takes a craftsman to use a tool correctly. Look at the DTP revolution where everyone thought they were a graphic designer. Now most companies have the common sense to hire a professional, rather than struggle in house. It’s just the same, if not more so, with video.
If your business model is to offer “unique” expensive software, then perhaps the model needs to change to offering unique expensive talent to differentiate from the beginners and enthusiasts.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Use the cinema tools conform option to take your 24p to 25.00fps. Do this on a copy of the movie. Use FCP to scale it up to PAL dimensions. Sounds like you know how to deal with the audio. Match that up and you’re laughing.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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If you can make it to NAB, I think you should go to the RED booth as early as you can Monday morning, not least just to say hello to me 🙂
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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There will be a small difference, as, although DV luma is full rez, it is compressed.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Yes, the 4 implies a full resolution luma, or Y. I’ve found that old film on DV PAL looks very nice indeed, but it all depends what format you got it telecined to.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Yes, “uncompressed” is compressed in the sense that it only records 2 out of every 4 chroma samples, but it’s uncompressed in the sense that it does not throw away any of the data it records.
No point going 4:4:4 with DVCproHD or HDCAM though – no benefit at all, really. I don’t think any of those decks will do 4:4:4 anyway – you’d have to go to D5 or HDCAM SR for that.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I don’t have a stand, but you can see me at RED. Go see Peter Wiggins in the plugin pavillion though, along with the other cool people there like Wes Plate.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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The way that PAL gets transmitted, they phase alternate each line so as to correct for any chroma imbalance in the transmission – that’s why you don’t need a “hue” control on a PAL set, but you do on NTSC. This will sacrifce some chroma vertaical resolution, but overall, as you have more rez to begin with, and view accurate colour, you get a much better picture.
PAL DV is hence 4:2:0 as the horizontal chroma rez is more important.
However, 4:2:0 is a pain to work with properly for interlaced TV, hence NTSC uses 4:1:1 which is much easier.
So, 4:1:1 is a better compromise for NTSC and 4:2:0 is a better one for PAL. PAL DVCPro is 4:1:1, as it’s much easier on the interlace processing.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Poynton is probably the best place to start. It can be heavy, but it has all the info you need. His book HD TV and interfaces, details at http://www.poynton.com
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP