Oliver Peters
2
Apple Final Cut Pro X Coins
6
Avid Coins
17
COW Coins
1
DaVinci Coin
1
Premiere Pro Coin
Forum Replies Created
-
An EDL doesn’t support clip names unless it comes in via comments. Not sure whether a) FCP generates clip names as EDL comments, nor b) whether EDL Mgr takes these comments and turns them back into clip names. In either case it basically isn’t supposed to work. As far as the tape names, what did you call them in FCP? Original EDLs only supported 3 or 4-digit numeric names. Later CMX3600 lists supposed 8 digit alphanumerics. No spaces, punctuation, underscores, etc. You are still safest with a 3 or 4 digit tape ID number.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Pierson,
You are right and I apologize if my response was a bit too flip. I reread the PDF for the Kona2 manual and the only sections that are applicable are around pages 50 and 70. To do what you wanted to do, does sort of assume that you know that by changing to 525i, a downconversion will occur on input. It is generally best to stay with the easy set-ups.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Michael,
You may be right. The way I understand it is that there are 3 basic compression rates. 10-bit at 6:1, 8-bit at 4:1 and 8-bit at 7:1. The variations of these times the various frame rates gives you the DNxHD numbers based on the resultant bandwidth.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Michael,
It could be that Avid’s done some tweaking on the codecs, but basically the number used in the codec name is based on the data rate “family” and then varies by the frame rate of the project. This description is from Avid’s chart:
“Avid DNxHD is available in three HD encoding choices per resolution/frame rate combination, each identified by bandwidth (megabits/second) and bit depth. At 59.94 frame rates the choices are Avid DNxHD 220x 10-bit, Avid DNxHD 220 8-bit, and Avid DNxHD 145 8-bit. The names designate the bit rate, with “x” designating 10-bit. For example, a 1920x1080i/59.94 HD raster captured as DNxHD 220x requires 220 megabits/second, whereas 1280x720p/23.976 captured as DNxHD 90x requires only 88 megabits/second to achieve the same high image quality as its source. The following chart details available resolutions for Media Composer Adrenaline HD.”
So according to Avid’s chart, 1080i/59.94 at the resolution of DNxHD 220x is the same amount of compression per frame (917504 Byte/F) as 1080p/23.976 at the resolution of DNxHD DNxHD 175x (917504 Byte/F).
Clear as mud, right?!
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “The “Elvis” mini-series is being conformed locally and that will be delivered on HDCAM. “
Jeff,
Sorry, I was wrong. This is being cut 23.98sfP, but being delivered HD-D5 1080i.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Jeff,
I’m not trying to be argumentative. This is certainly a very valid point-of-view, but I think you have to be careful to differentiate “standardize” from “will accept”. In the film-centric world of LA, I can see where HD-D5 is of interest, but PBS states in their Red Book they request HDCAM. CBS will also now take HDCAM-SR. Bottom line is that while most of the bigger operations will accept HD-D5, it isn’t at the exclusion of HDCAM or even the house standard. The “Elvis” mini-series is being conformed locally and that will be delivered on HDCAM.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[walter biscardi] “I’m not talking about deck to deck transfers. I’m talking about HD-SDI out of the Kona 2 to HD-SDI Input on the Deck. Right now we are seeing that HD-SDI yields a cleaner image back to tape than Firewire. ”
Walter,
Which codec inside FCP? The same basic concept is true deck-to-deck and deck-to-Kona2-to-deck. The video still has to go through a decompression step when it goes HD-SDI out and then recompression when it goes HD-SDI in. The VTR electronics still add a level of error correction and concealment in this path that doesn’t occur in FW transfer. I wonder if there is any verification in the FW path to make sure all the bits go through without problems. I doubt it since this is RT, though that’s simply a guess on my part.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
>>[Jeff Bernstein] All of the broadcast networks have standardized on D5HD, for now.<< Jeff, What is your basis for this statement? Sincerely, Oliver Oliver Peters Post-Production & Interactive Media Orlando, FL http://www.oliverpeters.com
-
[walter biscardi] “In theory it shouldn’t but that’s not what we’re finding here in the “real world” tests. HD-SDI recorded material looks significantly better than Firewire material so far. “
Walter,
When you copy HD-SDI to HD-SDI between DVCProHD decks you are decompressing and recompressing a very lossy codec. There is no way this can be considered a “clone”. FW transfer should be a file transfer without additional codec cycles, but effects will degrade it quickly. The big variable is what the deck might be doing to clean up the signal when it is decompressing and going out through HD-SDI. I find that this also occurs in regular DV. Decks with SDI out give you a cleaner image than FW out even though, by the numbers, it shouldn’t. Just means that the extra electronics in the deck add a certain amount of error correction and error concealment that the FW transfer doesn’t.
On another note, anyone who thinks that most local market TV stations are going to invest in HDCAM or D5 decks are nuts. Why do you think there’s serious interest in DVCProHD, XDCAM-HD, HDV, P2 HD and other options. I think what you’ll see most folks do is take a network feed in HD, install an HD studio config (switcher and cameras), and an HD master control air server – that’s the most they’ll do. You may see some HD islands in the prod dept using formats like DVCProHD and VariCams, but the reality is that we’re more likely to see ENG in 16×9 SD or maybe HDV. I could easily see the Sony 1080i HDV camera be a hot item for news. If not that, then reality TV. But I doubt that delivery will be in that format. Remember, even with broadcasters, cheap wins over quality these days.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Walter Biscardi] “From conversations I’ve had with folks delivering HD, D5 is big standard because it’s true uncompressed HD so many shows seem to be delivered on D5. We were actually surprised when we were told to deliver our series on HDCAM as we were expecting it to be D5. No biggy since we can convert it, but we were hoping to deliver on the D5 format since it’s uncompressed. “
Walter,
You are mistaken. HD D5 is NOT uncompressed. The SD (only) version was uncompressed. HD D5 is about 4:1 or 5:1 compressed. The bitrate is similar to Avid’s DNxHD at the high end. Largely the places that center on film mastering and those who’ve adopted 720p as the house standard use D5. Send a tape to HBO or CBS, for example and I believe the specs are HDCAM at 1080i. Even PBS is perfectly happy with HDCAM. The only way you are going to get uncompressed anywhere is by shipping a drive and few if any places will accept that. Generally there are few local stations around the country that are equipped at this point to deal with HD delivery to them for local shows and commercials.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com