Michael Sacci
1
COW Coin
Forum Replies Created
-
Fuji is making P2 cards, have not seem them available yet, but I haven’t really looked.
https://www.fujifilm.com/products/professional_av/lineup/p2/index.htmlwould be nice to see the prices tumble. I was hoping the price would shift and the 64 would be around what the 32s were and the 32s whould have dripped to the 16 level.
-
10-Bit ProRes (HQ) can be recorded to and played back from a single SATA drive. With 3 drives stripped as RAID 0 you could get several streams (at least 3) playing back as a multicam seq. Pro Res (HQ) has the largest bitrate of any of the compressed codec used in FCP.
Media drives need to be kept under 80% full or they start to suffer with dropped frame issues.
-
The only thing you should look at is the frame rate of the clips in the FCP bin after they are captured.
-
Without a doubt a m2v encode from the DBeta will look better then the same video on a DVCAM. Red, blues and blacks will hold up a lot better. It will retain a richness to the video, especially if it has been professionally graded.
It is not my money but I would think spending $200-300 at this point would be worth it. In the end it is your money and your choice. If you have the DVCAM deck and tape, go ahead and capture it and then encode it. See if you like what you get and can live with it.
To get the highest quality encode with what you have, capture the movie as DVCAM and place it on a FCP timeline. Then Export with Compressor. Make a new m2v preset with the settings of the Encoder tab (this is if you are not adding extra footage to the DVD, if you are you will have to author a DVD-9 to keep the bitrate up this high)
Mode: One Pass CBR
Average Bitrate: 6.5 Mbps
Motion: GoodEncode the audio to ac3 2.0 but change the compression preset to NONE on the preprocessing tab.
-
[Khashyar Darvich] ” and that going from HDCAM (4:4:4)”
Very few people (other then really high end project) are using 4:4:4 color space, this is really for a film out project. HDCAM SR decks and tapes are needed to capture/playback as well as a dual link capture card and monitoring. Most HD stays in the 4:2:2 color space.
But your thinking is correct and it holds true for SD 4:2:2.
-
4:2:0 is not better than 4:1:1, they are just throwing away information a different way, so if you convert 4:2:2 to either they results would look close. The problem is when you convert to 4:1:1 then convert to 4:2:0, you take a double hit.
If you graded your show at DV 4:1:1 I would not recommend you going up to a 4:2:2 timeline just for the sake of doing so, you are not gain anything, but you have up-converted and then grade (which is smart) so to do back to DVCAM would lose the benefit you gained with the method of grading you paid for.
All this depends on how much quality you want to retain. You may want to find someone that has a true Cinemacraft encoding system or another highend encoding.
To save money I would probably have the DBeta digitized to SD 10 Bit ProRes if you are using FCP 6xx, go 10 bit Uncompressed if you are still on FCP 5xx. You should be able to fine someone to do the digitizing for $75-150/hr. Then you could do the encoding with Compressor or BitVice.
-
U
-
TVs handle overscaning differently. As a practice there should never be anything in the overscan picture that you don’t want viewed while everything that needs to be viewed should fall within action or title safe. I would never rely on overscanning to eliminate poor framing of a shoot.
Most playback on computers play the entire image.
-
You guys beat me to it. How is this possible? Please share with the group.
-
You navigate down to the frame rate and press the button in and then all the frame rates are available to scroll up and down then select what you want.