Graeme Nattress
Forum Replies Created
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Enzo, I’ll always take suggestions!!!
I’m currently also working on some filters for Motion, and that’s great fun!!
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Toke, you’re beating a dead horse. There’s more to price than just the physical components, and Panasonic will have their own reasons for making it work this way. You don’t have to like it, or agree with it, but you’ve got to accept their decision on their camera.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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G Chroma Sharpen in Nattress Film Effects might help as it will fix up 4:2:0 chroma of HDV. Try out the demo and see if it helps at http://www.nattress.com
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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G Chroma Sharpen in Film Effects can help a lot, as can the Alpha Expander in Set 1, which, to me, works a lot better than the matte choker.
But the key for a good key, is lighting!!
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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In an LCD, black level and white level are tied by the backlight and the LCD itself. As you make the screen brighter (white level) you’re also going to allow through more black level too.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I’ve never found print to tape to be the easiest thing myself. Have you dragged the project sequence to the edit to tape window?
What about just playing the movie from the timeline, out to the camera and hitting record? If you need to top and tail the video, you can do that by nesting the sequence.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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“Contrast” on a CRT is white level, and “brightness” on a CRT is black level?? The brightness control on an Apple monitor adjusts the white level does it not?? Given that the black level is fixed by nature of the LCD, I don’t think you could adjust that.
So, contrast range in a monitor is much more like max volume level in audio, because the black level is fixed, but you can scale the white point to anywhere you want given the bounds of seeing banding, and how much light you want to put out. Given that LCDs are bright enough, we have to tackle black level. Personally, in a lighted room, I have no issues with LCD black level – it’s only in darkness do I have a problem, and then, in real world images, it’s minor.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Toke, I hope you don’t mind me sharing some thoughts here to try and get to the bottom of this, as it all leaves me confused some what.
In light terms, contrast ratio is white / black, which in your 100 / 0.1 case gives a 1000:1 contrast ratio. This makes sense so far.
But in digital terms, you’d get white / black, which is 255 / 0 = infinte. So something’s not quite right there.
In audio, dynamic range is peak signal / noise (or distortion) floor in db, which for an 8bit system is what, about 48db? (16 bit being about 96db, give or take)? But if I play a 8bit recording on a 16bit CD player, I’ll only hear 8bits worth of dynamic range, even though the player is capable of more (although I’d have to be in a dead silent room playing the music really loud to hear 96db dynamic range).
Is not the light situation similarly limited by the noise floor of the signal feeding the monitor?
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP