[Gunnar Kordestani]

hi there

> There is no 25p 1920x1080 in BD.

really? Wikipedia (which can be wrong, I know) says different:

“High-definition video may be stored on Blu-ray ROM discs with up to 1920×1080 pixel resolution at up to 60 frames per second interlaced or 25 frames per second progressive:[57]

Resolution fps Asp.ratio Codec NTSC Other Regions
1920×1080 25p (2) 16:9 … No Yes

Notes: (1) NTSC Regions only : (2) All other Regions”

for my case it doesnt matter anymore now, cause we will go for 24p, but I would be interesting to find out.

thx Gunnar

[Gunnar Kordestani]

thanks for your comments so far, I agree it is more about the lighting and the frame, and the picture not as much about framerates… but that is what people are also interested in (and if it is just a show off, maybe)

DOP of the project is very fond of 24p.

so we will go for”

shoot at 1080p 24
capture with ProRes 422 1080p 24
edit ProRes 422 1080p 24
output to Blue-Ray, HDCAM Tape 1080p 24

Any doubts on that workflow?

I kind of expect a demand to have a SD DVD for output, as well. Would that be a problem with my 24p? (Playback will happen on any DVD Player then, but no region code is required)

Also I wonder…. we use a Sony HDCAM Cinealta, HDW-F900R Camera, which claims to be 12-bit. I read somewhere earlier that HDCAM always is 8-Bit. So I guess the camera sees 12 Bit but then actually records 8-Bit Material on the HDCAM Tape. Is that so?

Any Advice how I can get best results when I will have to colorgrade this material in the post (I assume that due to 8-bit Material, I cannot do too much in grading, right)?

regards
Gunnar

[Gunnar Kordestani]

Hi Matt,

well, it seems we have to talk about a whole different world now. Putting the outcome on film just got cancelled. Have to deliver to DVD now (whether SD or BlueRay Disc was still not revealed to me).

Due to the length (or better shorth) of the movie, disk space is not so much an issue. In Order to make it simple in my had I prefer editing in online Quality (if my hardware can handle it, which I still think).

“I would also suggest digitizing your rushes with burn in timecode … this will save you potentially lots of headaches during the conform.”

that would be for offine editing and then conforming to online quality later, right?

thx
Gunnar

[Gunnar Kordestani]

thx John. discussing it the online editing people would be essential, I know. and I will.

Until then I am interested in opinions of people with more experience then me, though. So any opinions out there?

“ProRes 422 HQ 1080p 24” managable with mentioned hardware?
Read a comment here “Prores HQ is overkill and a waste of valuable storage…” unless u where shooting at 2k or 4k.

thx

[Gunnar Kordestani]

sorry, my fault. I have a pattern of perls here (a photo actually) and put them into a clipping mask to get straight edges. The pattern should consist only of the things still be seen (clipped by the mask). Actually I got the whole size, with the clipped out parts as transparent parts of the pattern.

so I just cut away all I didnt need in the pattern in photosho and then got what I was lookking for. I guess that is the way it shoul go. Even though I think it would be a cool feature to be able to adjust some percentual overlapping in the “new pattern swatch/pattern brush” Dialogue.

thx
Gunnar

[Gunnar Kordestani]

“…and THEN use a compression application to do the actual compression. You get far better looking results from the same amount of compression.”

never heard of that, but interested. But not sure what would a compression application be, for example? Something like “MPEG streamclip”? Or could u compress anything with QT pro?

thks

[Gunnar Kordestani]

> Why don’t you just use Effect > Distort & Transform > Zig Zag?

sorry, new to this. Didn’t know that.

[Gunnar Kordestani]

thanks guys, ‘merging’ and today also ‘copy & paste’ is working. The other day it just was not pasting into the new scene.

copy paste is more flexible though cause you can select, what to use actually.

[Gunnar Kordestani]

thanks Marcello for the detailed answer. molto grazie. Just two more additional questions.

if I go for progresive from interlaced footage…

a) do I loose any lines/resolution on a flatscreen? I would say ‘no’ as it just is about how all lines are replayed (progressive or interlaces)

b) how about progresvive DVD on an interlaced TC screen ? Any loss here?

thx

[Gunnar Kordestani]

hi,

I think what the original poster is experiencing is just that the “Separate XYZ” preset doesn’t generate a visible motion path, because the keyframes are added to expression control effects instead of position.

exactly that was my point

CS4 lets you separate XYZ position into discrete properties without using the old preset.

how would you do that?
whats a “discrete propertiy”

And you do get a motion path for the separated XYZ keyframes. You’re going to find out -though- that once you separate dimensions, you loose free bezier handles – because if you move a handle freely, then that keyframe can’t possibly be separate (since the handles would define a behavior in all dimensions). You can separate dimensions for the camera …

really? When adding the “Seperate xyz” to a camera the expression is added and then i an expression error is claimed (due to the not existing effect “seperate xyz”)

or a Null (or any other layer type, of course).

hm … but it makes nothing better if you could apply it to a camera directly (just one layer less) if you cannot use handles for the mentioned motion path *which I am not able to find by the way).

I resume from what I understood so far: “Seperate xyz position to move a camera and having a smooth bezier motion path for it to follow does not go together”

Or is there any other way which was not mentioned yet?