Jeff Brown
Forum Replies Created
-
1st a disclaimer: I’m a PC guy (3d & mogfx), and the only thing I know about FCP is that some of my clients love it…
But, I have heard that the scaling in FCP is less than ideal. If you want to do a pan & scan, one workaround that comes to mind is to use After Effects (or combustion, etc.). You could properly deal with field issues/conversion, and have much better scaling. Not the fastest route, but if you already have the software…-jeff
-
I wish BlackMagic would address the fact the the “i” in 1080i stands for interlaced, and requires a professional monitoring solution. I understand there may be technical limitations, but I for one can’t justify buying an HDLink if it only does progressive.
Still searching,
Jeff -
Have you checked in DL Hardware control that you are using YUV output and not Y output (composite) ? Do you have any output at all? BW/switched color channels, noise, anything?
-jeff
-
https://www.markertek.com might have something suitable. They do have pre-built or custom patchbays. (no personal affiliation w/ them, just a customer)
-jeff
-
While we’re on the subject of updates, does HDlink properly display fields and field issues (such as reversed fields) with 1080i footage? The new Viewsonic 23″ specs say it will handle 1080i; just wondering how that in combination with the HDlink might work. Much as I’d love to say goodbye to interlaced footage, my clients aren’t of the same mind…
-jeff
-
and, while your at it, BMD, please add 3dsMax framebuffer support!
thanx!
-jeff -
Just curious: since you support the BMD codec in QTime with Premiere; any possibility of supporting a compressed QTime codec in Premiere? Motion- or Photo- JPEG would be just fine! Would be particularly awesome for HD work.
-jeff
-
“If you want improved quality from DV (especially with PAL, which is 4:2:0), you can capture via SDI from a DVCAM deck that has SDI outputs to uncompressed 4:2:2 with a Decklink card. This will help you with compositing and chroma key. ”
But, to clarify, you would have to do that while shooting. Once the signal is on DV tape, it’s 4:1:1 (or 4:2:0), and that’s all you have. You don’t get to magically re-create those missing bits.
-jeff
-
De-saturating bars in Pshop would not help. You need the color to get to the picture tube, and have it removed -after- the signal gets to the monitor. The blue filter mentioned works just fine.
-jeff