[Graeme Nattress]

Or you’re into extreme colour correction. What I was getting at is that although benefit might be slight, there could be benefit and that analogue video isn’t limited to being worked on in 8bit through any inherent properties of the video.

Thanks,

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

Yup. That’s why there’s some logic to capturing 10bit if:

you’re in to a 10bit workflow,
you want to get the max quality out of the SP for colour correction

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

Um…. BetaSP is analogue last time I looked and has no bits….

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

Here’s my MetaSAN article: https://www.lafcpug.org/reviews/review_metasan.html

I’ve been rather busy with the RED camera project, so not much time for forum posting these days, but I do read what’s going on.

Basically, MetaSAN is excellent, affordable, file level and I’d say prety much perfect for any small FCP shop. I don’t know how well it scales to big installs, but that’s only because I’ve got a really small SAN here and no need to expand it further.

I’d totally agree with Peter that a volume level SAN is NOT what you want. Quite frankly, I don’t know why colume level SANs are called SANs as they’re so different from true file level SANs in operation. They should be called VANs, for Volume area network.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

Thanks! If you really want a full technical description of this and other video terminology, my reference is Charles Poynton’s https://www.poynton.com/ HDTV book – it’s very technical and hard going, but it’s full of good info.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

YUV is analogue component video in the process of being transformed into composite analogue video. Normally, you’ll never encounter this intermediary stage of video, but if you’re engineering a component to composite converter, you’ll have to know about it.

But…. when people say YUV, they often really mean YCbCr or YPbPr. YPbPr is analogue component video, and YCbCr is digital component video. People say YUV, but they really mean one of the above!

Y standa for luma – it is calculated as a weighted average of red, green and blue. Different weights are used for SD or HD video.

Cb and Cr are colour difference components that are scaled versions of red – luma and blue – luma. They store the “chroma” of the image. The component transform of RGB to YCbCr decorrelates the video signal, putting most of the information that’s useful to the eye and brain into luma, and puts leaving less detail in the chroma, making it much easier to compress. Often chroma is compressed by simply reducing it’s resolution in comparison to the luma – hence 4:2:2 where chroma is half the resolution of the luma.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

Be good to see you Walter! We’re showing what we’ve done in the first 4 months. I think you’ll be impressed with what we’ve done so far. We’re showing design prototypes, and you can speak to the people behind that camera – that’s not nothing, just the reality of what we’ve got so far.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

If you think that’s a revolution, I can’t wait to see your face monday morning 🙂

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

I’d wait to monday to hear more, but the camera is a more evolved state today than the HVX200 was last NAB…. We don’t use balsa wood.

No need for Zeiss primes, but you can use them if you want to. We’re redefining things, and hence the PR – to tell the world what we’re up to.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

The BBC stored their composite backups of their 2″ and 1″ masters on D3, a composite digital format. This allows them to use a newly developed PAL decoder (the “Transform” decoder) to convert the composite back to PAL in much higher quality that, say, the composite to component PAL decoder in a DigiBeta Deck. The DVD’s they’re making from this process are looking better than the programmes have every looked before!

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP