[Jase]

[walter biscardi] “The DSR-11 is a fully functional editing deck running off Firewire. The DV codec is a nightmare trying to key no matter how it’s ingested. You can’t “magically” make the footage better by bringing it in via 10 bit uncompressed. You still have the 5:1 compression artifacts all over the place which make it very difficult to key.”

yes 5:1 compression ingested at 4:1:1 which means full resolution luminance with 1/4 resolution chrominance. this why it makes it hard to key.

but if you bring in in analog with the 10 bit uncompressed codec (not DV) it will soften the pixellation of chrominance, thus making it easier to key.

see https://www.adamwilt.com/DV-FAQ-tech.html#colorSampling
“Some people capture DV for chroma keying using an analog Y/C feed, since the analog connection prefilters and smooths the chroma.”

therefore component and a better codec of course will be better.

here is an AE tut on softening the chroma:

https://www.aenhancers.com/viewtopic.php?t=40

[walter biscardi] “For DV Only editing, this is a waste of money”

maybe. Future proofing is better in a studio that wants to expand it creative wings. I’ve worked on 2 projects this year trying to pull keys on corporate gigs where they had the dsr-11, and started to use chroma keys in their production and wanted more heavy graphics work.

”
Insert editing is actually reliant upon the deck itself. I have a $32,000 Panasonic AJ-HD1200A with RS-422 Control but no Insert Editing capabilities. I really don’t know if the DSR-11 supports Insert as I’ve never had the need for it.”

cripes walter. you say you’ve never worked on a broadcast gig and had to re insert segment 2 of a 4 segment programme because the producer had a typo?

maybe this thread should be in the Final Cut Pro basic forum.

[Jase]

forget about the dv deck with only dv in/out full stop I reckon.
keying is a nightmare when ingested with the dv codec.

get a real card…aja or blackmagic (with component inputs) etc

and get the sony deck with component in/out – it softens the chroma easier for keying….even using magic bullet and keylight in AE dv keying is hard.

dv codec was only really made for offline….and effects/titles they look like crap. maybe good for church or wedding videos. It compresses 5:1 through that firewire lead which decompresses 5.1 on the way out (which of course making anything you do digitally look bad)(see adamwilt.com). Go 10bit uncompressed for high end jobs and DVCpro50 if you want to save space.

oh and those dsr 11 dont insert edit on an avid express…get one with RS422.

jim

[Jase]

hehe

*mental note* add to after effects want list after intel version, final cut pro aaf import, nucleo pro for free then.
buy propeller hat, learn expressions and code, dream of clients that don’t make changes.

*sigh*

[Jase]

hehe

*mental note* add to after effects want list after intel version, final cut pro aaf import, nucleo pro for free then.
buy propeller hat, learn expressions and code, dream of clients that don’t make changes.

*sigh*

[Jase]

Thought as much for the render settings. I suppose I’m thinking if AE is smart enought to say ‘I don’t need to render this at the original comp size resolution then scale, I’ll just scale it at this resolution then render’. Kind of like Shake with node based compositing. Must be a Adobe question.

Thanks will try a test Steve.

Jason.

[Jase]

thanks guys.

3d assistants seemed to do the trick.

[Jase]

Yes makes sense.

What I am getting at is auto orienting to a path in z space…..just in case I wanted something more irregular like a s-curve (from the top cam angle) for the video wall follow when it moves….

[Jase]

In the UK:

bar/tone 1 min = 100%bars PAL (check with station some require 75& bars)
tc: stripe from 9.58.20.00 bars from 9.58.30.00 – 9.59.30.00
Audio: +4dBm (-18 VU ref) think it’s supposed to be intermittent on the right channel (to determine LR)
(please note that the material sometimes starts at 1.00.00.00 for some channels for programmes only and has specific gaps of black in between prog parts)

VITC should be the same as LTC (to do this put digi into preset to stripe from 58.20.00, stripe for at least 10 secs, then put into regen to allow VITC to be the same as LTC and assemble to tape from 59.30.00.

Slate: 9.59.30.00 – 9.59.58.00 countdown from 9.59.50.00 – 59.58.00 with 1 kHz beeps on first frame of each second at +4dBm

for commercials:

VO must come in 12 frames after 10.00.00.00 and must finish 12 frames before end (10.00.29.12) for 30 sec spot.

vision: 30secs + 10 frame freeze (don’t forget to de-interlace to one field in FCP) allow for 30 sec black after…

quite like the 10 frame freeze thing – allows a nice space for MCR to do a fade and not have convoluted wall to wall audio (good ole BBC eh) They don’t have this down in NZ and Australia – I think its quite unique.

and NO you should not have fades at beginning and end – this tends to freak out MCR ops.

hope this helps.

[Jase]

What I do is sub comp the prog and apply the broadcast safe filter as it’s realtime when subbing….be careful of sub blacks (seems to only effect peaking whites and chrominance) and green spots though (some kind of FCP defect). CC 3 way may be better pushing the limit black and limit white button.

[Jase]

What I do is sub comp the prog and apply the broadcast safe filter as it’s realtime when subbing….be careful of sub blacks (seems to only effect peaking whites and chrominance) and green spots though (some kind of FCP defect). CC 3 way may be better pushing the limit black and limit white button.