Keith Pratt
Forum Replies Created
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But that’s romance, not practicality. And the craft is in the decision-making, not the sticking together of two bits of plastic.
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Is Vimeo hard to download from? Open in Safari, open Activity window, find the large file and alt+double-click…
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When the beachball appears, open the Activity Monitor. Is Compressor saturating your processors?
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It only supports HDV in the sense that it transcodes it to AIC on capture. Obviously this means somewhere on the computer there must be the relevant codec, but I’m not sure that it grants the user the ability to view HDV-codec movs (captured natively in FCP) in Quicktime, does it?
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I’m not specifying any particular uncompressed codec, just that it is turned into “video” in the conversion, just as it would be if it were played out. Perhaps non-compressed is the appropriate word — when you transcode you are starting with a fresh batch of non-compressed video each time.
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sRGB would’ve been my guess seen as it’s full range and coming from a stills camera, but in this post Gary says it’s “REC 601 encoded LGOP, RGB video files compressed as h.264.”
I wasn’t aware something could be both RGB and Rec.601 at once but assumed this was some sort of bastardisation of that standard (perhaps just Rec.601 gamut or something).
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I’d keep it ProRes 720×480 anamorphic 16:9 through the edit and mastering, and only change it to 853×480 when making an H.264 for the web. 720×480 really is the standard for SD, and it’s what apps will by default expect. But for the web, you’re right, square pixels is the way to go.
Two things:
1: what is your source (DV camcorder, 16mm film scan, etc.) and frame rate?
2: check that Compressor has correctly identified the field dominance in the A/V Attributes tab. -
Dennis Couzin: “Is the RGB really subsampled 4:2:0? Does this mean that there is Green data for every pixel but Blue and Red data for alternating 2×2 blocks of pixels?”
I’m not certain but I think it’s actually full range (0-255) YCbCr Rec.601. Anyone confirm or correct that?
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Dennis Couzin: “Transcodings involve the interactions of two different codecs.”
That’s not really true. If you recompress an H.264 to ProRes, the H.264 has to be decompressed before it’s compressed to ProRes. So you’re essentially working with uncompressed every time you compress/recompress.
Obviously, the legacy of previous compression remains; but the judgement call you make when choosing a codec should not be about matching bit rates (and compensating for different compression techniques) but about how much there is/you want to preserve.
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I’ve seen lots of different figures quoted for average connection speeds. Here are some more…