Graeme Nattress
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https://www.lafcpug.org/Tutorials/basic_chroma_sample.html
Shows an investigation I did into this subject.
As Bret points out, that if you do your final render in an uncompressed timeline, you will get benefits, however….
Although the DV codec does some bad things to images, and especially text, it’s no-where-near as brutal as what broadcast does to those elements. I’d say that if you cannot get your graphics to look good in a DV timeline, then they’re not designed to withstand the rigours of broadcast and should be re-designed. Moving to an uncompressed timeline will fix most things, but then you’ll only find out how badly they break after your programme has been broadcast, not before.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Things going green with alpha channels, blending modes not working as expected. Stuff like that.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Uli is right. G Chroma Sharpen is the PAL Nicer and it’s wonderful. My version for Final Touch works a touch differently to that for FCP, but it’s the same basic algorithm. You can see it’s effects here: https://www.nattress.com/Products/FinalTouch/FTGChromaSharpen.htm
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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It’s been buggy since it’s inception in FCP. There’s 10bit bugs in all versions of FCP.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Yes, G Nicer is specific for NTSC DV. G Chroma Sharpen is non-specific and will work with anything. It has two stages. First stage is a simple interpolation to smooth the chroma out, so that there’s no blocks. That because the Apple codecs leave the chroma data in a blocky state.
Next step is to sharpen the chroma data. This is luma based, so that the chroma now conforms to the edges in the luma information, so it both sharpens the chroma, and up-rezzes it to match the detail in the luma.
There’s a version for interlace and one for progressive video. Use as appropriate. There’s even a version for Apple’s Final Touch (was Silicon Color) which works on the same principle, but is a little better quality.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Do the final render in an 8bit uncompressed timeline. If you want to, take steps to improve the DV chroma quality at the same time.
10bit in FCP is buggy.Dupe your main timeline, just change the compressor to 8bit uncompressed. That’s it. Now render, and export your final movie. This will help a lot with going to DVD.
But remember this…. If your graphics look bad onteh DV codec, don’t use the uncompressed timeline as a “fixit” because what DVD does to the image and what broadcast TV compression do to the image are worse than the DV codec. If you can’t make your graphics look good on DV then they’re probably not fit for broadcast either.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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The sensor is nearly 5k at 4900×2580, but some of those pixels are reserved for black balance and the like, leaving a maximum shooting area of 4520×2540, what we call 2540p or 4.5k. For recording via REDCODE, make frame size is 4096×2304 which is 4k 16:9.
Thanks for “This camera shoots film quality imagry. VERY impressive. 1080p is quite a step DOWN for it.” comment Shane. That’s very much appreciated as we’ve been putting a lot of work into the image. Looking forwards to showing you more at NAB Shane!
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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First, there are two kinds of digital cameras: ones that do it “right” and ones that do it “wrong”. Ones that do it right, will, if asked add 7.5IRE setup to the analogue outputs only, and when recording, correctly place digital black at code 16. Ones that do it wrong, fake black to be 7.5IRE on analogue by adding ~16 code values to black on the digital, recording black around code 32, wasting 16 code values, and making the digital tape somewhat incompatible with anything else.
I’ve not, personally, seen cameras default to 7.5IRE setup. Most “prosumer” level cameras default to how they’re made in Japan for the Japanese market where setup is not used.
Another thing is that with HD, there is no 7.5IRE setup in HD at all. It’s not in digital and it’s doubly not in Digital HD.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Setting a digital video camera to incorrectly record black at 7.5 IRE will give less digital levels for the recording – about 7% less.
Setup has nothing to do with crushing blacks. It’s a bias in the analogue recording realm to deal with TV flyback issues that are long gone.
Now some cameras may implement it all wrong and give anomalous results that could be percieved as having more lattitude, but that’d be bonkers. Digital was designed to always record at code 16, which is not the case if you burn in a setup into the digital signal. It should read 0% in FCP’s scopes.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Cinepak – that’s out of the ark. Why are you rendering to that. When I was doing animation work we always rendered to tiff sequences, which we then turned into movies at whatever FPS you need. FCP won’t edit a Cinepak movie properly anyway – you should be using a codec that FCP is happy with.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP