Oliver Peters
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Forum Replies Created
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Paul,
Should Avid revamp this? Certainly, but…. I’ve done tons of compositing on Avid systems of all types and you can do it. 50-100 layers. Yes. And that’s will the standard MC interface. Have you tried Boris with Avid for more advanced compositing? Plus, I can guarantee you that the finished results will be far superior in quality to something like FCP, which has the style of interface that you like.
[paul] “To “step into” a clip just to be able to add more than one filter…..”
Or double click the effect icon on the clip and it opens vertically on the timeline and shows you the filter stack.
[paul] “having to use this “special thing” called “advanced keyframes” just to get to animate different parimeters of effects”
This is only required if you want Bezier curves. I agree that it should be better integrated, but isn’t necessary for most effects.
[paul] “no transfer modes”
This can be achieved with plug-ins and will be more of a factor with AVX2. If you use BCC plug-ins, they have transfer modes. I do a lot with FCP, which has transfer modes. They generally don’t give me the results I like (not as well as PSD or AE), so more often than not I don’t use them
[paul] “and he was showing me how cool it was cause he could just laso a bunch of clips in the timeline and move them”
Segment mode and lasso does the same thing in MC.
[paul] “or grab an end of a clip and trim it without having to go into segment mode…”
Lasso an edit point and you automatically go into a trim mode. Dragging the rollers on the timeline does the trimming. No interaction with the trim mode necessary unless you want to work that way.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Assuming that your footage is only DV and you have access at home to a DV deck, then you could purchase and install the Mac version of Avid Xpress DV or Xpress Pro. This would let you capture files on your home system for use with Adrenaline.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Graeme Nattress] “But chroma sampling is just that – how many luma samples you have for each chroma sample.”
Well, I would argue both answers are correct, but Graeme is right that currently the ratio is the commonly used reference and most people don’t even remember that 4:2:2 originally was tied to real numbers. In fact, Sony, who used the 22 nomenclature has dropped that in discussing HDCAM-SR specs, which are listed as 4:2:2 or 4:4:4. Certainly I would defer to Graeme about the quality as he’s done a whole lot more delving into this that I have!
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Erik Lindahl] “A filmscanning/post house here in Stockholm helped us with scaning and transfers of an edit shot on film, later to be edited in HD. They really felt strong about NOT going the HDCAM road. We finally went to HDCAM SR and then staright to hard drive 4:2:2 10-bit uncompressed.”
Erik,
I would agree here, as I’ve done film DI work on SR at 4:4:4. However, Ken is talking about upconverting existing SD to HD for US cable broadcast/transmission. SR is totally overkill for his requirements.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Erik Lindahl] “If you do the up-conversion externally you also have to take into account HOW you mange the up-converted output. HDCAM will degrade your material alot (3:1:1 color space compared to 4:2:2 of DigiBeta for starter). Going HDCAM SR is a great, but perhaps not so cheap (or easy) route”
Erik,
You are confusing things. HDCAM is not 3:1:1, but rather 22:8:8 if you expect the numbers to actually mean something. 3:1:1 is simply expressing the same vaules as a ratio, not an absolute value and as such, would only be of value if you were talking about ratios in HD, not ratios in SD. The numbers 4:2:2 – when you are taking about SD digital video – are based on multiples of actual values, not only just as a ratio. Going from Digibeta to HDCAM or going from Digibeta to HDCAM-SR is going to be little or no visible difference.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[kenh] “For example is the difference between the Terranex and the Kona of the same magnitude that you implied exists between these two hardware converters and the software solutions?”
Ken,
The Kona and Teranex Mini were close. The software conversions (FCP and DS) were a distant third and fourth. When I asked casual observers to look at the Kona and Teranex conversion, they could see a difference. The Teranex was a bit crisper and there was a definite improvement with aliasing especially with material that had 2-3 pulldown (film). As far as I know, the Mini has the same basic processing at the full system, just not as much control, nor a lot of the restoration features. I think you’re always going to see a difference between SD and HD, but if your original is really film, the Mini will do a nice job with it, because it processes the frame progressively.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Dan,
I have done side-by-side comparisons of the Kona2 upconversion against the Teranex Mini and the Teranex is better. Kona2 beats all the others, like FCP software conversion or Avid DS software conversion, but it still doesn’t have some of the things the Mini has, like processing that’s adjusted based on 2-3 detection. There’s also a Flexview mode in which the edges are stretched more than the center when upconverting 4×3 SD to 16×9 HD. I don’t know if the Kona3 is any better than the Kona2. I would think not.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Yes. Hardware conversion to HD and then capture media as native HD. Best converter to consider is Teranex.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
What about the LHe instead?
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
You can also overwrite/insert “with sequence content” (defaulted to one of the modifier keys). This will avoid nested sequences. You can remap the keyboard so this is the normal condition, which won’t affect standard master clip edits. Doing this won’t retain links to rendered files from the original timeline (re-rendering required), though, whereas copy/paste will.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com