Sean Oneil
Forum Replies Created
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If it’s 25fps then it shouldn’t matter if it’s 50i or not. Try a short test clip in Cinema Tools. This way you can work with progressive video without any duplicate frames. A much cleaner workflow so long as the small speed change isn’t a problem.
Sean
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What is the frame rate of the HDV? If it’s 25 then you can capture it as PAL, open up the Quicktime files in Cinema Tools, and conform them to 23.98. Then it will play nice on any NTSC sequence.
Conforming just alters the speed. There is no rendering involved whatsoever, so it is an instant process.
Cinema Tools may not allow conforming for HDV. Test a small clip first. If it doesn’t, then convert it to ProRes first.
Sean
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I had to do the update a few days ago (for reasons I won’t get into). No problems so far.
Sean
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It’s not magic. You can put 720p footage on a 1080p sequence in FCP and render it and it will look good. After Effects will do an even better job though you may not even be able to tell the difference.
Products from companies like Teranex are the best, but they are total overkill for this. Those excel at upconverting analog SD to HD. You shot it digitally, HD, and progressive-scan. It’s very easy to up-scale that type of footage.
Sean
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[Aaron Neitz] “Why didn’t they ever make DVD players with SDI out? “
They do. Google it 🙂
Sean
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[Lara Johnston] ” Suddenly this week, my playback on the computer monitors only seems jerky.”
What do you by mean “playback on the computer monitor?” Are you outputing the Kona to a computer monitor (using an HDLink or something)? Or are you just talking about Cinema Display Mode, or the Canvas and Viewer? What does it look like when you use the QT Player?
Sean
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[Mike Flynn] “Will rendering the footage in a 23.98fps sequence make it 24p”
The only thing I’ve seen that does this well is a Teranex. It uses some complex technique I don’t fully understand. The problem is that the shutter speed for you shooting doesn’t match with 24p.
The silver bullet to this problem will be future cameras that can record at 120fps. Aside from having great potential for doing slow-downs, 24, 30, and 60 are all even multiples of 120. So you can record at 120fps and then finish at any normal frame rate you want.
Sean
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Thanks. I’m skipping NAB this year though. I’ll end up having a smoking relapse hanging out in Vegas :). I look forward to the press release.
Sean
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That’s cool, but the term “lossless” has a very specific meaning, and even a .01% variance doesn’t cut it. I’d also argue that looking at scopes will not detect some aspects of loss especially if the chroma and luma levels stay exactly the same. Using the difference filter in AE or Photoshop is probably the best way to test if something is truly lossless.
It’s fair to say that SDI dubbing is “virtually lossless” and that in a real life workflow it’s just as good. I’m not criticizing the practice at all. I’m just saying it isn’t lossless. I do all my work in ProRes now which isn’t lossless either.
Sean
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[Nathan Daniel] “Thanks for all your help. I guess the only clarification that I need now is whether I should hook two 1200As together with firewire or a 1200a to a 1200a or 1700 over BNC. Is the setup process for firewire dubbing much easier then the BNC process?”
Again, firewire is lossless. BNC is not (you need two 1700 decks to do lossless with BNC).
Walter and Gary have pointed out that SDI to SDI with these decks are virtually lossless as far as the scope readouts are concerned. But firewire is a digital data copy, not a dub. So you can’t go wrong with firewire. I’m guessing they’re on the same equipment rack, so there’s no reason to use BNC anyways.
Sean