Phil Radelat
Forum Replies Created
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Oh I don’t need an explanation of it, I perfectly understand the issue. I want to SEE the difference between the two in actual footage.
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Dave is correct, however you can make a faux flare by multiplying itself on the white areas. Use the text as an alpha so you don’t multiply it over the text or it will disappear from the text area.
You may need to make more than one multiply layer, and possibly use and additional keyframe-able soft vector alpha to keep the heavier components of the flare in check.
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BTW, that video wasn’t really what I was looking for, I meant a real-world full res key or source data at 4:2:2 and 4:4:4.
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Actually my shallow DoF reference wasn’t really about keying, it was really about having the best of all worlds if you could adequately key off a DSLR and also have it’s filmic shooting capabilities with optics such as my 135mm f2 Nikkor.
That is an interesting point about smoothing a screen with shallow DoF, but you could only really get away with that with a static subject. If there were any dynamics in the scene you couldn’t take advantage of that.
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Yeah, well, that’s was kinda the point of the whole tapping the HDMI port thing. I can’t see why you can’t have a port that can directly feed out to raw full res data coming off the sensor. If you have that then using something like the Decklink and an appropriate storage setup pretty much negates the need for a full res camera.
As I mentioned in the other post, unlike Sony, Canon, and Pana, Nikon doesn’t make a video camera, so it would be no sweat off their backs to put a full res port on their cameras. That certainly would be sweet for me. 🙂
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Well, that appears to be a Mac-centric device, so it useless to me.
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The Nano flash is cool as a portable unit, if you can either afford it or are able to rent one when needed. The Decklink is a more down-to-earth (or at least pizza-budget :-D) approach, but it still begs the question of where will you get the full-color source signal.
It’s unfortunate that DSLRs, even of present-day ilk, don’t have full-color ports. Of course, probably no one’s really tested recent units, but it’s probably safe to say they don’t. I don’t know if anyone’s tested recent Nikons, which will be my camera of choice. Considering Nikon doesn’t sell a videocam like Sony, Pana and Canon, it makes you wonder. Hope springs eternal. 🙂
Videocams that may supply full-color ports will typically not have the depth-of-filed capabilities of even DX DSLRs. I know there are a few new toys out there that do, but they’re pretty expensive for occasional key work. Of course, if they become available on the rental market, that will certainly make them a little more attractive, but I still won’t be able to shoot a scene with them using, say, my beloved 135mm f2 Nikkor. 🙂
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So essentially the answer is no. That’s too bad. Your second link is now three years old. I don’t know if there have been improvements to the available ports on newer cameras or not.
However there are essentially two problems. The first is the signal quality (or lack thereof) of the port output, and the second is the lack of available capture hardware to grab a 4:4:4 signal and write it out uncompressed.
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Well, it turned out to be the OpenGL setting. I shut it off, and PShop was back to normal.
I’m curious, Paul, do you have an ATI or nVidia card in your Mac? Apparently Adobe got chummy with nVidia in developing CS5 and left ATI out in the cold. I think the OpenGL behavior I saw has something to do with this, as my card is a Radeon variant. Personally I think it was totally bogus on the part of Adobe to do this.
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I’ll take that as a “no”, LOL!