Graeme Nattress
Forum Replies Created
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Well, I see nasties on DVCProHD au natrel, before you do anything to it, never mind rendering to it, but you’ve got to remember I’ve now got 4k eyes and they squew my judgement 🙂
As with all production, there’s practical reality and that often wins. However, in my mind HDV is bad enough to start with without subjecting it to further lossy compression, the first task of which is to remove 12% of the horizontal resolution, something you don’t have much of to begin with….
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Sure, but you can get the same benefits from just doing afinal render to uncompressed at the end, rather than editing uncompressed. Also, you’d better be mastering to a really good pro HD tape format to see the benefit 🙂
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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You’ll read that a lot, but:
HDV never gets better than what it is,
HDV support in FCP is very good,
Uncompressed HD takes up a phenonemal amount of disc space
Going to DVCProHD will reduce picture quality, not improve itGraeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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For 4:2:0 I’d use G Chroma Sharpen though 🙂 And you just need to be on an uncompressed timeline, but you don’t need the source media to be uncompressed.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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A single drive is not fast enough for HD. You need at least 150MB/s or so for good playback. The second question is “why?” when HDV support in FCP is very good, and turning HDV to uncompressed does not in any way improve it’s quality.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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In the graphic you’ve got a edge defined by a colour transition from multi-colour to blue. Because of the 4:2:2 chroma sampling, colour is half the rez of the luma, and hence that transition will not be very well defined. FCP displays chroma rather blocky on screen, whereas the deck’s outputs smooth the chroma making it less noticible. Either way, it’s bad form to use a chroma transition for text – change colours yes, but put it on a strong luma transition also, and that will help make it look a lot better. Remember worse things will be done to the graphic in broadcast than are ever done by your codecs in your NLE, so make it look extra robust now, for transmission’s sake.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Even downconverting to DV is going to make terrabytes (25mbps v 40mbps) of data though. Way too much to put on a laptop! Could you take the DVCproHD down to an offlineRT and still have it watchable enough to edit on a laptop, Gary?
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Because the DVCproHD capture is as best as it can be, for colour correction online, if you’re mastering to a higher format than DVCproHD Tape, doing final render in uncompressed is probably best. If you’re going back to DVCproHD tape, it’s probably of no benefit. Either way, capture a DVCproHD online quality offline!
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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If you’re shooting DVCproHD, I’d do an online-quality offline by taking in the DVCProHD media over firewire as normal, and it’s only 40mbps for 24p, which is nothing these days. Then, you’d not conform at the end as you’d already have everything in at online quality. You’d just take your FCP project to a place that does FCP online, colour correct, and out.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP