Kevin Monahan
Forum Replies Created
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Hi Chris,
Optical Flow Processing is one of the key features announced with Compressor 2. I don’t have a lot of experience with it, unfortunately.What is Optical Flow Processing? Well, I am not an engineer, but if you do a search on the web, you can find a more exacting explanation. I just did, and it’s very interesting. It’s quite scientific and way over my head to explain in a pinch.
To be very generic, and from what I gathered, Optical Flow is a high quality way of temporal image processing borrowed from Shake.
And that’s gotta be good, unless you don’t have a powerful G5.
As Hector mentioned, you can set up an “encoding farm” with other Macs on your network. I got a chance to try this with a 10 seat Xsan and it was really cool. Encoding speed goes really fast on that baby!
Kevin Monahan
Author – Motion Graphics and Effects in Final Cut Pro
fcpworld.com -
Place them on even X, Y integers.
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Are they different codecs?
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Avoid shooting with Auto Iris next time altogether. Pro shooters usually are in manual 90% of the time, setting exposure based on zebras and/or a good field monitor. Of course, you probably knew that. I never use it, even with consumer gear primarily because of the problems you are running into.
Kevin Monahan
Author – Motion Graphics and Effects in Final Cut Pro
fcpworld.com -
Optical Flow processing is much higher quality than 2 pass VBR. So it takes longer for the higher quality encodes. I believe you can disable it though, can’t you?
Kevin Monahan
Author – Motion Graphics and Effects in Final Cut Pro
fcpworld.com -
This is only a problem for people that capture entire tape rolls. If you log and capture short and discrete clips AKA scene & take, then STP has no trouble.
The problem is that many people capture an entire tape, something I try not to do unless I have to. Even then, I will subclip and then media manage or batch export those subclips so that they are shorter and easier to work with, to sort and to manage.
I do understand that many people need to capture tape rolls, especially events producers. But for corporate and dramatic stuff, I highly recommend scene and take. The STP limitation is just another one of those reasons to do so. Granted, STP should be able to work with clips of all lengths.
Kevin Monahan
Author – Motion Graphics and Effects in Final Cut Pro
fcpworld.com -
You’re right about the PAL feature, that’s kinda cool. However, unlike guys that spell color with a “u”, I don’t do a whole lot of PAL here in the states though. Matter of fact, haven’t done a single PAL production ever. I’m sorry, but I sure like to see the TC readout as I work, not some plastic lid. Dare I mention balanced audio? And that DSR-11 shuttles like a DOG, and gets on and off the heads like molasses. FireWire device control plain ol’ sucks too. Gimme RS-422 any ol’ day. I’m sure you guys agree with me along some of these lines, no?
I just don’t like the deck. If it is the IDEAL deck for you, then rock on. I just think that there are superior decks out there and the 11 gets more praise than is due.
Plus, ya’ll gotta allow me my opinion. 😉
Kevin Monahan
Author – Motion Graphics and Effects in Final Cut Pro
fcpworld.com -
Connect the speakers out of the deck and not the Mac. Monitor video on the pro video montor and not the Canvas. The video monitor and speakers will be in perfect synch with DV.
Kevin Monahan
Author – Motion Graphics and Effects in Final Cut Pro
fcpworld.com -
If you’re gonna get a FW 800 drive, get a PCMCIA card to go along with your PowerBook and a PCI card to go with the Tower, That way the data will be flowing on a separate bus than your DV deck.
Kevin Monahan
Author – Motion Graphics and Effects in Final Cut Pro
fcpworld.com -
I guess I’m the only one that simply can’t stand the DSR-11. You guys must all be drinking the same kool-aid. 😉
The shuttling mechanism is far to slow for my needs. It also has no TC or any display at all. It looks and feels cheap to me. Not very impressive to the clients either. As an editor, I really would like to see the TC as I am capturing. Spend more and you get more–speed that is. I guess I’m spoiled in using that DSR-1800 I had on my last job. That thing ROCKS.
That being said, the DSR-11 is pretty popular with low budget and corporate producers. I just know that there are better decks out there, you just have to spend more. An $8,000 UVW deck was a bargain not more than a few years ago, yet you would induce heart attacks to most newbie editors if they even dreamed they’d need a deck that expensive.
I like the DSR-45 as an entry level deck, because it has most everything I want: fast shuttling, component i/o, RS-422, digital read out, pre-settable TC, a 2 inch LCD monitor for viewing content, audio levels, tape information and user menu selection, time code insert and I/O, 4 channel audio control, 4-pin i.LINK IEEE 1394 DV I/O. All this for about $3400. Not too much, unless you’re really limited on the budget.
My next deck I’m hoping will be a Panasonic 1200A for DVCPro HD. Nice little deck that does SO much.
Kevin Monahan
Author – Motion Graphics and Effects in Final Cut Pro
fcpworld.com