Terence Curren
Forum Replies Created
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Following your logic, there is NO tape format that records progressive.Can you name one?
If we are going to call it interlaced whenever the entire frame isn’t recorded as one piece, we are in for some serious name changing in the industry.
One can even argue that the RED camera isn’t progressive as the CMOS chip actually scans as opposed top capturing all at once..
This is a BIG can of worms, but I think Sony had the right idea. Keep Progressive and Interlaced as definitions of how the image is captured, not how you put it on tape.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
Okay, now you’re talking about a confusion with nomenclature. The reason Sony refused to call the HDCAM recording format “fields” instead they came up with “segmented frame” to avoid just this situation.
Splitting a frame into pieces to record on tape doesn’t make it interlaced. Capturing those pieces of the frame at different points in time does.
If the chip is a progressive one in the camera, then it doesn’t matter how many pieces I break the file into for ease of recording, it will still be progressive.
So it sounds like Panasonic has decided to confuse the issue once again.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
Okay, I don’t get it.
I understand why you want to store 24P as 30i with added fields to make up the frame rate. But why would you want to call something shot progressively as “i”.
And what difference would that make? You are recording one frame of video that was either captured at the same time “progressive” or half the picture at one time and the other half a little later “interlace”.
Either way you end up with ONE frame. At this point there is no difference on tape or in a file other than metadata saying how it was captured. It is still a 1920 by 1080 frame of video. Just calling it “1” after you captured it “p” doesn’t make any difference.
What am I missing here other than Panasonic being weird?
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
[Bouke Vahl] “Sets you back some 2500 USD?
How much is a FCP room for a day? Something like 800? “800 a day? With an operator? Set up for proper Color Correction with the panels? Not a chance.
And if they don’t have the panels, the operator will be much slower. And if they don’t have the HD scopes and proper monitoring, they aren’t going to be able to do as good of a job as in a properly set up room.Yes Color is cheaper to purchase than a daVinci, but the rest of the room and the operator should cost the same.
As we both know, that isn’t the case. With cheap software you get “everyone is a colorist”, not just folks who have been doing it exclusively for many years.
[Bouke Vahl] “Or use my ReCut application? Should be something like 1 hour or less (i can razor an hour show in less than an hour on Avid, using Recut…) “
Forgot about Recut, sorry. 🙁
[Bouke Vahl] “Now i know these numbers are off also, but there surely is a difference. If there was none, then all the big shops would still be alive. “
Not necessarily. The reason the big shops can’t compete has to do with the lower overhead and clients that don’t care about quality anymore or don’t know the difference.
I don’t know what things are like on your side of the pond, but over here I see shows that would never have made it on TV ten years ago. We’ve become a quantity over quality consumer world. Otherwise WalMart wouldn’t be the largest company in the world.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
Wow! Where to start wpth this one.
The best answer, if they don’t want to go to a Symphony for Color Correction, is to go to tape and then do a daVinci color correction pass.
Short of that, Color doesn’t support the DNxHD codec. So you will have to go into FCP with whatever codec you choose and then razor blade that sucker at every edit point. Be sure to add dissolves for the matching duration wherever they may occur in the timeline or you will be in keyframe hell in Color.
These extreme workaround situations never save money in the long run, they just transfer the money from some place with higher end hardware to someone with lower cost software. The client ends up paying about the same either way unless someone is willing to take a beating on their rate.
Example: 8 hours in a daVinci suite or, Transcode the sequence to a FCP friendly format. Then 3 hours in FCP to prep the sequence, 8 or 9 hours to CC the sequence in Color, another couple of hours to render, then at least 30 minuntes to verify everything came back correctly in FCP, then output to tape.
Where is the savings?
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
[Michael Phillips] “I believe that is Panasonic’s way of indicating 25p capture but storing the files in a 1080i video stream – like a film transfer to 1080i/50. “
See, you didn’t say 1080i/50P.
Obsfucation by the manufacturers is not an answer. Or, in other words, “standards, we got a million of ’em.” :-/
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
You can’t write off your donation of time in the United States. Sorry, but that is the reality. Otherwise every volunteering parent, holiday meal delivering, Kiwanis member, etc. could have a huge deduction every year.
Sorry man. The good news for a business that volunteers their employees time is that the employees pay is still a deductible expense. But the employee gets no credit even if he volunteers to work for free.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
[Shane Ross] “But really, unless you get work on a union show there is no benefit for joining. “
Bingo. And if you get hired on a union show and you aren’t union, they can get you in. Everyone is better served by making a ton of network connections as opposed to joining a union to get work.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
There is NO such thing as an “i” and “p” format.
“i” = Interlaced capture: https://en.wikipedia.org/wiki/Interlace
“p” means progressive capture: https://en.wikipedia.org/wiki/Progressive_video
No edit system in the world is going to have a setting for something that cannot exist. This is like asking why you can’t buy a “hot/cold” button at the hardware store.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
Lots of tricks here, but the most important is to shoot it right.
The biggest problem area here is the sky. If the shooter avoided the sky, you are golden.
Lower the luminance level, desaturate the color, and give it a blue tint in the gamma. Then crush the blacks to your discretion.
Semi-useless fact for the day. Earth is one of the few places in the universe that you can get away with this. The reason is that the sun and the moon are essentially the same size of light source to us. This is why the shadows on a moonlit night are the same as a sunny day… minus the color of course.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca