Sean Oneil
Forum Replies Created
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Chances are they want a data DVD-R disk with the TS file on it. That’s fine. I delivered something similar to Best Buy a while back.
Like Gary said, MPEG transport streams are always 1080i to my knowledge. So double check what they are using for playback. If it’s a DVHS deck, then it hast to be 1080i. But if it’s a Media Center PC or something like that, it might work fine with 1080p. There are so many consumer products that play back HD data files now. Apple TV, Xbox 360, etc. Find out what they are using. Or just deliver it both ways (1080i and 1080p) since it’s only 3-5 minutes burned to a $.25 blank disc.
But regardless of what you deliver, you want to capture and edit in 1080psf 23.98fps if that is what the source tape format is. No question about it. When you’re done editing, it’s no more difficult to output a 1080i MPEG from it if that’s what you need. Still much better to edit at the native framerate.
PsF means progressive segmented frames. It’s a way of storing a progressive image within an interlaced one so that it can be transimitted over HD-SDI. For all practical purposes, the same thing as regular progressive scan.
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[gary adcock] “Why Sean?
Adobe does not, Microsoft does not.It is and always has been the responsibility of the individual user to care for their own machines.
It has never been any ones responsibility to upgrade, therefore if you upgrade something on your computer you then take on the responsibility to maintain it.”
My response to that has already been made in this thread by jmf:
[jmf] “Microsoft and Apple were pretty optimistic when they invented the automatic update? As long as we hold the software companies harmless, they will enjoy a certain incompetency.”
Sean
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[Jerry Hofmann] “I don’t think DVCPROHD will look better in 10 bit, because you simply can’t improve that 8 bit shot material when you transcode it up to another format, but anything else you add to the project will… gradients especially.”
You know what, I believe you are correct. It won’t LOOK any better. Maybe I should be the one eating dog food.
But… you still get advantages as far as chroma keying and such.
Sean
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[Shane Ross] “No…this is a NEW feature. Currently if you rename a clip in the Browser, the captured clip on your Media drive stays the same. So if it was captured as UNTITLED-1, and you rename it WIDE-MAN CROSSES STREET…the Quicktime media remains UNTITLED-1.
BUT, with the new feature, if you gave the clip the same name, the Quicktime clip on the media drive would also change to WIDE-MAN CROSSES STREET. This can be dangerous as 6 people access that clip, and if the name changes on one, the other 5 lose the connection and cannot reconnect, as they don’t know the new name.”
I know what it does.
Again, you missed my point. There are already other ways an editor can alter media and screw up other people on the same shared storage. Changing it in the finder, changing the reel name, etc. It’s not like the possibility of this problem didn’t exist before. Maybe it’s more likely to happen now, but there is the option to turn it off.
Anyway, editors on shared storage shouldn’t be changing file names with disregard to everyone else. That’s what the description field is for.
Sean
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Turn your caps lock off.
Thank you.
FCP6 adds a new convenience of applying sequence settings to that of the first clip you drag into it. But you can still set your sequence to whatever format you want.
Since you are mixing JVC HDV with Sony HDV, I think you have the right idea. You are much better of capturing both to ProRes.
Whether to do 1080 or 720, that depends on your final output. If you don’t know yet, then just do 1080.
Sean
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[jmf] ”
Microsoft and Apple were pretty optimistic when they invented the automatic update? As long as we hold the software companies harmless, they will enjoy a certain incompetency.”I agree.
From a professional to a professional, I think the lectures about backing up is very, very good advice. But….
If someone decides just to upgrade the “normal” way and has a ton of issues and loses stuff, the buck stops at Apple. No question about it.
Sean
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Regarding the 8-bit vs. 10-bit thing. Converting 8-bit footage to 10-bit will make it look better while you are editing. But as far as the quality of the final output, it’s meaningless unless the tape format you output to is 10-bit. So if the master plan is to finish back to DVCProHD or HDCam, your footage won’t look any better.
In fact, going from 8-bit to 10-bit then back to 8-bit might even be a lossy process. Don’t quote me on that, I don’t know for sure. But it seems very possible.
Working with 10-bit can help with chroma keying and compositing. And if you are mastering to D5 or HDCam SR, those formats will record 10-bit. But if none of that applies to you, 10-bit might not be a good idea
Sean
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Hopefully everyone already has a monitor. This is probably the WORST time ever to shop for a broadcast monitor. They’ve stopped making CRTs prematurely. LCDs are not up to the task yet.
There are new technologies being demoed every month. LED-lit LCDs, OLED, SED, etc. These are the new tech that can match and even exceed the quality of CRTs. But they’re not here yet.
I saw the new Panny broadcast LCDs at NAB. Not only are they a ridiuclous ripoff as far as price goes, they didn’t look all that great. I hope people realize that if they buy one of these things now, a consumer monitor/TV set costing 1/10th the price will outperform it in as little as 2 years from now.
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I think multi-core rendering in FCP would be great – but the real focus should be no rendering at all. The work should be offloaded to the GPU as much as possible (Fxplugs, Motion 3, Color). I think that is the direction they are going and how FCP6 is able to mix formats, etc.
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I hope it isn’t, and I hope they don’t have a problem with it. IMO, this codec is very crippled if it can only be used on computers with FCP6.
Given the fact that you can’t actually edit ProRes on a non-FCP6 machine with RT Effects, I think that is more than enough to motivate people to upgrade. That alone makes ProRes a “special feature” of FCP6. I should still be allowed to create or at least read that format on any Quicktime machine.
DVCproHD was a different story. That codec involved a license agreement with Panasonic. Not the case with ProRes.
It should be noted that Avid does not provide this kind of restriction:
https://www.avid.com/forms/DNxHDinfo.asp