[Graeme Nattress]

Ah, but compression technology, even in the intra-frame kind that Panasonic rightly prefers, has advanced more than enough to compensate for the small increase in data needed to go from 8bit to 12bit. Although, even getting NLE manufacturers to do 10bit properly is hard work, so it’s a bit chicken & egg. But as the HVX200 will be the popular camera to get people used to using memory, not tape, a future popular camera could be the catalyst to get decent >8bit performance on NLEs.

Graeme

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

[Graeme Nattress]

Jan, you’re absolutely right, but now that we can get 12bit captures on our digital cameras, and we can do quite severe colour correction, exposure compensation etc. without any kind of visual loss, we’re still waiting for the video industry to move beyond antiquated 8bit. I just got a Canon 20D digital SLR, and it’s quite shocking how are ahead the stills camera industry is compared to video. I know that capturing moving images is a whole lot different to capturing stills, but it really makes you think. We appreciate that Panasonic is getting rid of tape for us, and that move alone will improve the flexibility of video no-end, but I guess what we’re saying is that’s just the first step, and that progress must continue on to larger chips, lower noise and better dynamic range.

Just my thoughts…

Graeme

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

[Graeme Nattress]

Thanks to Paul for inviting me to speak on his podcast. I look forwards to listening to whoever Paul gets next.

Graeme

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

[Graeme Nattress]

Thanks Wayne. That’s very much appreciated.

Graeme

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

[Graeme Nattress]

Which is why video camera manufacturers need to seriously start thinking about moving rapidly beyond 8bit. But that said, that would need much bigger chips to get the noise levels low enough to warrant > 8bit encoding, would it not?

Graeme

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

[Graeme Nattress]

He’s referring (although not clearly) to DigiBeta being 10bit, and DVCpro50 being 8bit, not chroma sampling, which in both cases is 4:2:2.

Graeme

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

[Graeme Nattress]

But you’ll actually find it very hard to see 10bit v 8bit in the raw footage. You might find that a 10bit DigiBeta capture has more room to work with for colour correction in post, but it’s not 4 times as good.

Graeme

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

[Graeme Nattress]

There could be a bug in a plugin you’re using. Which plugin was applied to the clip?

Graeme

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

[Graeme Nattress]

The DVX PAL shoots 25p or 50i. That’s it. There’s no 24p, nor is there the need for any funky pulldowns to add or remove. Just shoot 25p, capture as standard 50i PAL DV and you’re laughing.

Graeme

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

[Graeme Nattress]

If you’re having to “fight” to get it in, it’s most likely that the metal shielding on the mac is catching the lip of the card as you insert it. The pressure to push past the black plastic thing is slight, but if it gets caught on the shielding, no amount of force will get it in.

Graeme

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