Marco Solorio
Forum Replies Created
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Absolutely. Look at any of the offerings from AJA, Aurora or Blackmagic Design. There’s many options to fit your workflow style.
Marco Solorio | OneRiver Media
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I *totally* agree, but multi-seat/shared use and lond-distance storage was not asked in the original post! 😉
Marco Solorio | OneRiver Media
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[Joe Murray] “Everyone’s been begging for true pro capabilities for YEARS and yet they haven’t bothered to keep up. Which is why, like Marco, I choose to do graphics on the PC side and probably will stay that way.”
Yes, I totally agree, but I do want to make it clear that it is only 3D animation that I do on Windows machines. All other motion/still graphics, be it compositing, chroma-keying, tracking, roto, film emulation, etc., is all done on Macs (although we do have one seat of LightWave in our main edit suite for those times we might need a quick and dirty 3D asset without having to go to one of the actual 3D workstations). I’d switch our LightWave Windows 3D seats over to Mac in heartbeat if…
A – There was 100% plugin availability compared to Windows (there’s just much more Windows plugin support).
B – Render farms were cheap to build on OSX (the Mac Mini makes this a hopeful prospect but it aint a G5)
C – ResPower.com created a 400-node Mac-based render farm akin to their Intel setup (these guys are AWESOME)
D – We get PCIe on the Mac and finally get support for *real* workstation OpenGL cards.Marco Solorio | OneRiver Media
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You silly boys! You’re both wrong!
SATA RAID is the way to go! Waaaaay better performance than FW800 with a price to match and cheaper than Xraid!
😉
Marco Solorio | OneRiver Media
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If anything, Ultimatte should key it for you. It’ll maintain highlights, glows, shadows, transparencies, fine detail, etc. I think you can download a demo. Try it and see what it does for you. It’s pricey and kind of slow but it’s the best keyer out there. I’ve been using it for years and haven’t had a key give me a problem yet. It performs magic other lower-cost keyers just can’t solve.
Marco Solorio | OneRiver Media
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[Graeme Nattress] “As for going better than linear, the G Nicer in Film Effects 2.1 is doing a very good job of chroma reconstruction, and I’ve got a new chroma Sharpen plugin in the works that is also doing a great job of putting that missing data back into the chroma from any sub-sampled chroma source. Drop me a mail and I’ll send them out to you for testing.”
Sounds like fun! Yeah, send it my way and I’ll play with it. Knowing you, it’ll have the best algorithms in town.
Marco Solorio | OneRiver Media
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Yes, but if there’s nothing additional to process (like chroma-keying), then there’s nothing “new” for it to process in 4:2:2. IOW, yes, it’s just a 4:1:1 video in a 4:2:2 shell, but that’s what it is and there’s nothing it can “add” to make it 4:2:2, i.e., there’s no data to add that extra color information from 4:1:1 to 4:2:2. Now if there’s rendering of something (again, like chroma-keying), then that added processing (i.e., new color information) can and will benefit in 4:2:2 space since new color data *is* being created. Otherwise leaving it alone and untouched is my personal preference so as to lessen the amount of degradation as possible when transcoding.
I’ve never seen a plugin or software convert 4:1:1 DV to 4:2:2 and actually add real chroma data that didn’t exist to begin with. I guess interpolative methods could work though, much like faking an over-cranked film effect for slow-motion. Adam Wilt created an early FTP plugin that added chroma filter smoothing to 4:1:1 so it would work better with things like chroma-keyers, but it didn’t add chroma data to make it true 4:2:2.
Do you have a secret weapon you’re hiding from me?!! =)
Marco Solorio | OneRiver Media
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My quest for the perfect AE girls still persists. And I’m glad you remember! See any hanging aroud lately? =)
But really, I’ve been mad-busy the last, oh, year now. 18-hour days, no weekends, yeah, I’m fried. I’ve got some more extra hands over here now so I’ll be able to have somewhat more of a real life again, like being on the Cow!
I’m lining up a very important article exclusive for the Cow (not the topic of this thread). So it’ll be nice to be more active again like the old days! 😉
Marco Solorio | OneRiver Media
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Well unless that DV media isn’t getting processed with something else (like chroma-keying), then I wouldn’t see a benefit to upsampling the media with a 4:2:2 upsampler plugin. The main purpose (in the outline I’ve given) is to benefit the TGA images. I want to “harm” the DV media as little a possible since it’s being taken out of its native timeline spec and thus losing a generation loss (although the Apple DV25 codec in particular deals well with regeneration). If however the DV media did need additional processing, I’d see the benefit of applying a 4:2:2 upsampler plugin to it.
Marco Solorio | OneRiver Media
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Or better yet, 12 FPS for that REALLY old-school look!
I have to agree though that 60i with old film damage looks really weird. It needs progressive spatial reduction to make it feel right.
Marco Solorio | OneRiver Media