[Jack Kelly]

Oh. My. Goodness.

That IBC demo is mind blowing. Real-time preview of 4k RED footage straight from the timeline with RGB curves applied and a bunch of other effects, without spending 6 figures on hardware.

I’ve just sent Adobe a “feature request” urging them to incorporate GPU-accelerated grading features into PPro ASAP

https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform

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Jack Kelly
London
Dir / Prod / Camera
Jack-Kelly.com – my homepage
====================

[Jack Kelly]

Hey guys,

Thanks loads for the replies!

One quick thought… I have recently installed Illutrator CS3 on a netbook with a screen res of only 1024×600. The installer initially refused to install because the laptop’s screen has such a low native resolution. So I plugged the laptop into a larger screen and re-ran the install. The software installed fine while the netbook was connected to the large screen and Illustrator will now run on the netbook with a 1024×600 resolution (which would be pretty painful for doing any serious work but it’s fine for reviewing material whilst on the road etc).

Thanks,
Jack

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Jack Kelly
London
Dir / Prod / Camera
Jack-Kelly.com – my homepage
====================

[Jack Kelly]

Hi Gary,

Sorry, I’ve just re-read the entire thread (I should have done that before replying!) and I realise that you’re the one who taught me the definition of PsF in the first place! Sorry, I think I’ve just confused matters by replying! My apologies!

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Jack Kelly
London
Dir / Prod / Camera
Jack-Kelly.com – my homepage
====================

[Jack Kelly]

“ARRGGHHH- it cannot possibly be “true progressive” if it is captured or played back with any kind of fields. ”

Maybe you’re aware of a definition of “true progressive” that I don’t know about. I count something as “progressive scan” if 2 things are true: 1) that the sensor captures whole frames at a time and 2) that I can see those whole frames when I get the footage back to my grading system.

25p over 50i satisfies my definition of “progressive scan” because my camera captures full frames, dumps those full frames to tape as two fields and I can then re-create the full progressive-scan image on my grading system by simply merging the two fields into a single frame. The camera’s sensor and the images which come out the back of my workflow are entirely progressive scan. It just so happens that the tape in the camera is recording a 50i signal; completely unaware of the fact that the two fields were taken at exactly the same moment in time. But the sensor is capturing progressive scan and my finished product is progressive scan.

https://en.wikipedia.org/wiki/Progressive_segmented_Frame

“With PsF, a progressive frame is sliced into two “segments”, with the odd lines in one segment and the even lines in the other segment. This allows for a progressive picture to be processed through the same electronic circuitry that is used to store, process and route interlaced video. Technically, progressive segments are equivalent to interlaced fields, but unlike native interlaced video, there is no motion between the two fields that make up the video frame, both fields represent the same instant in time.

… PsF has been recognized by Recommendation ITU-R BT.709 as a legitimate way to transport progressive frames within an interlaced system.”

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Jack Kelly
London
Dir / Prod / Camera
Jack-Kelly.com – my homepage
====================

[Jack Kelly]

“The Ex, XDCam and all of the HDCam series cameras shoot PsF, only RED and Phantom shoot 1080 as True Progressive. This has nothing to do with sensor as the RED and Phantom cameras that shoot 1080 as P are both CMOS.”

We need to distinguish between what the camera’s sensor captures and what the camera dumps to tape. For example, the sensor on my old Panasonic DVX100 shoots a “true” progressive image but the camera dumps the 25p signal to tape as 50i (i.e. “25p over 50i”). I imagine the same is true of the XDCam and Ex cameras. Indeed, I’m fairly certain that the definition of PsF is something like “the sensor captures progressive but this is laid to tape as an interlaced signal”. In other words, the two fields represent exactly the same slice of time. It’s a bit of an ugly system but I believe it’s required to maintain backwards compatibility with kit that doesn’t know about progressive images.

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Jack Kelly
London
Dir / Prod / Camera
Jack-Kelly.com – my homepage
====================

[Jack Kelly]

“I installed the intensity update and CS4 crashes on the DV preset. … Anybody had a similiar problem?”

Yes, I get the same problem! If I have a DV projector (or a desktop project) and I try to output video to my Decklink Video display then PPro CS4 crashes as soon as I click “ok” on the settings. Not good.

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Jack Kelly
London
Dir / Prod / Camera
Jack-Kelly.com – my homepage
====================

[Jack Kelly]

Yes, you’re absolutely right – I fully intend to get some hands-on time with an FCP system before I fully commit to purchasing one. I’ve looked into dry-hiring an FCP system here in London but the prices are too high (

[Jack Kelly]

Thanks loads for all the replies. Getting myself an FCP system is now my #1 spending priority for 2008.

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Jack Kelly
London
Dir / Prod / Camera
Jack-Kelly.com – my homepage
====================

[Jack Kelly]

Hi,

Thanks for all the replies – I’m getting a great feeling about FCP.

Please may I ask a question that probably feels very obvious to you: is FCP *responsive* on large projects? I ask because – again – I was up until 2:20am last night fighting with PPro because it just ground to a halt on a large project (and this is on a very fast, very well looked after system). I’d click the mouse on a button and then have to wait 15 seconds for Premiere to respond. Or I’d hit the spacebar to play and again, I’d have to wait 15 seconds. Not productive.

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Jack Kelly
London
Dir / Prod / Camera
Jack-Kelly.com – my homepage
====================

[Jack Kelly]

Thanks for all the replies – really great info.

This forum topic has me a little concerned though:

FCP 6.02 VERY VERY VERY buggy

Bugs, bugs, everywhere we turn. What happened to good quality testing?

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Jack Kelly
London
Dir / Prod / Camera
Jack-Kelly.com – my homepage
====================