Herb Sevush
22
COW Coins
20
Premiere Pro Coins
Forum Replies Created
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Bret –
Digibeta is 2:1 and DV50 is 2.5:1. A bit of a difference.
Only mathematically. Quality of compression algorithms can make a bigger difference than pure ratios. I’m not aware of any measurable or visible difference between DigiBeta and DVCPRO 50.
Yes, but that’s not the point. I only brought up the notion of DigiBeta as a benchmark to understand what DV50 is. The issue is not DigiBeta vs BetaCam compressed to DV50. The issue is whether it’s worth conforming his Beta masters to uncompressed. I would suggest that Tom do a test to see if it’s worth the effort. My guess is that he’s not going to see a difference.
Herb Sevush
Zebra Productions -
Chris –
DV = DVCAM = DVCPRO 25, a digital format sampled at 4:1:1
DVCPRO 50 is sampled at 4:2:2, with twice the file size of DV.
DVCPRO 50 is to DigiBeta as DVCPRO is to DVCAM. That is, as Panasonic is to SONY.
Personally I don’t think DV is as good as BetaCam, which is not sampled at all but rather an analog format. I’d place BetaCam’s quality between DV25 and DV50, but that is somewhat subjective. And then, of course, there are the dropouts.
Herb Sevush
Zebra Productions -
Tom –
As others have stated, you can’t upconvert via firewire.
My question for you however is why will you re-conform the DV50 material? DV50 is basically identical to DigiBeta, and unless you are doing heavy compositing in 10Bit I don’t see the advantage of going to uncompressed. We went from Beta to DV50 2 years ago for all our SD Broadcast work and it looks great.
Herb Sevush
Zebra Productions -
Aaron –
Realizing that these are very low budget spots I still would reorganize and prune the reel.
You might think about making a montage of your spots, instead of showing all of them, because they have some nice moments but are generally flawed. The biggest problem is that the director is not conscious enough of how the people in the spot look, and that is a key to any spot. The car spokesman is reading a cue card to the side of the lens which is an absolute no-no. It never works, especially in close-ups. How do you feel when you talk to someone who wont look you in the eye? well that’s how an off camera cue card makes the viewer feel.
You also have to be sensitive to who you put in font of the camera. In the old age home you have a shot of 2 aides, one of whom looks hugely overweight and butch. She might be a wonderful person but she does not make for effective advertising, nor does the on camera advocacy of a woman with a n oxygen tube in her nose. Otherwise this spot is your best, the shots of the patients dancing, the graphics, the end statement by the other older woman all are strong. In a spot “montage” you could accent the positives of all your spots and bury the flaws.
If you feel you need to go with a string of finished spots I would suggest leading with the 2 Cox spots, then the first Furniture spot, which has a nice graphic look and then the first Car spot, and that only because it’s good to show you’ve done them. Then the old age home. I would leave off the other 3 spots altogether.
In general the spots are well edited; the camera work is not as strong, but serviceable.
Herb Sevush
Zebra Productions -
Randall –
“I think you’re an egocentric spoiled brat”
You seem to be the ultimate proof of the Fruedian contention that most complaints are projection.
Herb Sevush
Zebra Productions -
Aaron –
On behalf of the non-Randalls here at the Cow I would like to apologize for this thread. If I knew anything about pricing Cable spots I’d gladly tell you, but that’s not my world. If you want a critique of your spots, let me know, I’ll throw in my .02
Herb Sevush
Zebra Productions -
Shane –
I have to disagree with you about 720P24 for the web. It’s more than a little bit of overkill. DVCPRO50 anamorphic is fine for this job, the 4:2:2 sampling will make for better keys without going to such high data levels.
Macfreek – there is no visual difference between DV and DVCPRO – they are both 4:1:1 sampled and both make for difficult keying.
Herb Sevush
Zebra Productions -
This is an interesting video to show in light of the previous “DVD sales” thread you contributed to. The film “It’s a Wonderful Life” lost it’s copyright in the early 70’s due to a clerical error and many believe it’s in “the public domain” and can be used in any manner whatsoever. This is not true. The movie was based on a short story whose copyright never lapsed, and the movie itself has been re-copyrighted in the 90’s. I don’t think it’s a big deal, but I wouldn’t, myself, send this out as a professional promotion.
Herb Sevush
Zebra Productions -
Kerry –
I got it, yes, we should all be very aware that the MPEG codec has royalties attached. So does the lyrics to the song “Happy Birthday”. And I am as concerned about my exposure to improper use of DVD duplication as I am to the unpaid royalties I owe when singing happy birthday at my son’s party. Both instances are only an issue when used in “Mass Media” – 300 copies of a high school graduation DVD (royalty’s due = $6.00) are not going to get the school board in trouble. If you’re pressing ten thousand DVDs and your duplicator isn’t paying the proper licensing fee, and MPEG LA deems fit to come after you as the distributor, you can feel free to sue the duplicator – fat lot of good it will due you – and then all the lawyers can buy a Benz for the new girlfriend. The licensing fees are only an issue with the actual duplicators who are pressing millions of disks a year. It is not practical for MPEG LA to go after anyone else. Especially a guy who is discussing pressing 40 DVDs for an event.
Herb Sevush
Zebra Productions -
Kerry –
My understanding is that if the duplicator doesn’t know, or is failing to pay anyway, it’s their problem, not yours. And yes, if it’s only a few it doesn’t matter. If the fee involved is less than the cost of the postage for the letter requesting the fee, it’s too small to be collectible — and then what’s the issue?
Herb Sevush
Zebra Productions