Tim Kolb
Forum Replies Created
-
PPro doesn’t use the MSDV codec on the timeline. It uses the Main Concept DV codec internally…YUV, really good quality. Right in there with the Canopus and Matrox codecs.
The type of file that sits on the harddrive can be a generic Windows DV file, but it’s using the actual MSDV codec in the editing software that causes the degradation.
PPro does quite well with DV. I’ve been satisfied with several small budget SD commercials we’ve done on DV in Pro…and I was a Canopus user specifically for quality reasons.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
If you go to the website and download the latest drivers…there should be some default profiles included in there…
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
I’m guessing this one is in Matrox’s court. It’s probably a driver update still in the works.
Adobe doesn’t build software to support third party products…it’s usually the other way around.
…which can mean a lot of work for a third party manufacturer to keep hitting a moving target, particularly this time out with the extensive integration.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Martin Munthe] “Somewhere in this forum someone stated – I think it was Tim Kolb but I may be wrong – that Apple and Panasonic have a tight working relationship and that the same goes for Adobe and Sony. Then why doesn’t Adobe support the HC1?”
I have no doubt that I could have said the Apple/Panasonic part, and may have mentioned that Adobe supports Sony pretty faithfully (all NLE manufacturers would if they were smart), but I guess I wouldn’t characterize the Adobe/Sony relationship in the same way I’d talk about the Apple/Panasonic relationship…at least with the knowledge I possess…though I won’t say that I couldn’t have phrased something to give you that impression.
I don’t have an HC1, but are you saying that PPro doesn’t even see the camera, even with generic HDV control? That WOULD be a bit of an oversight. I was surprised there was no support for the JVC HD100 (24p), but I would have thought all the Sony HDV2 devices would have been supported.
I have a feeling that CineForm is in for a busy year…I’ll wait and see how the Adobe Tour goes and gauge reaction afterward.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
I don’t know if the Black Magic cards are supported yet for PPro 2.o (Not even a great number of AJA cards are)…apparently it works well enough to function but this may be an area that will require attention.
When you place the effect on the clip, PPro’s video takes over from the card as that’s a PPro effect…I assume this is with some Black Magic media…?
…what project settings are you using
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
I think you’d be pleasantly surprised.
The film “Dust to Glory” was not offlined…but onlined using CineForm Prospect at HD res (1920×1080) and taken out to film again. The response to the image quality has been very, very positive.
10 bit color depth won’t add detail of course, but once you start stretching or compressing grayscales for that poorly exposed footage, you have increments four times finer than 8 bit…1024 steps per channel with 10 bit vs. 256 with 8.
The codec is for real. 1. It’s a wavelet…a full screen transform, not a DCT using macroblocks like just about every other video codec that exists…therefore the “blocking” artifacts simply can’t happen. A full screen wavelet doesn’t have blocks. The other issue is variable bit rate based on the footage. This adds detail in high motion sections and saves data in relatively stagnant sections.
Any camera format that writes onto tape is (and needs to be) fixed data rate, so these formats do not have the flexibility to ramp the data footprint up and down like a VBR codec does…
I’ve been working with the CineForm codec for a variety of projects HDV (Aspect HD)to HDSDI (Propsect HD) and I handled and viewed some of the 2K content that CineForm has been working with…in my opinion, this may be the best performing motion image compression non-long GOP codec the industry has seen to-date.
Overall, I’d say that you’ll be happy with it…particularly if traditional video artifacts are the basis of your fear.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
I own the camera…I was attempting (as I mentioned in the initial post) to bypass a rather rudimentary downconvert to DV in the camera. Analog component out from the camera HD is clean, but the SD downconvert goes to 4:1:1 DV as far as I know. In the end it appears that would have been just as good as what I ended up with, but that is only because the conversion to Avid codec directly went out so severely compressed.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Oliver Peters] “It sounds to me like it was set to 20:1, not 2:1. That would also be a valid Meridien compression setting. Something is wrong. I would recommend simply compressing to Animation codec at the right settings and taking the time hit on the Avid side. Might be some sort of codec conflict with ProCoder or the version of QT on that machine.”
Yes, that was what I was thinking (the 20x)…but having re-checked the dialogue countless times, I know that I didn’t set it that way so I suppose you’re right-that iyt must be some sort of bug.
We’ll go with the Animation settings.
Thanks again.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Thanks Oliver,
yes, I know the Meridien doesn’t ingest FW…that was the reason for the file conversion in the first place. I’m not confused about this, the initial response had the FW content in it. Also…this system has no SDI I/O, so it’s analog only.
The codec stuff you mention is what I expected from this codec, but what I got was a about 2 Gigs every TEN minutes. Less than DV. FAR more than 2:1 judging by the data footprint, even though that was the setting I chose…
That is the focus of my issue…
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Thanks for the reply.
Well…since I’m not capturing on the Avid…all capture/conversion info there isn’t really what the challenge is…
The data rate is a weird, weird thing. The 2 Gig file limitation seems to be in force for importing QTs as well, not just DV. (BTW, why in the freakin’ world does this box have to “import” a file that’s already set-up as Avid compression?…it takes forever too…).
Maybe there is some difference in how the codec reacts with QT on Windows? The funny thing is that I can play back the Avid file on my PC in QT 7 without issue…the Avid Errors out if the file is over 2 Gigs and it refuses to import it.
2:1 Meridien HAS to be better than DV? Right?
…I don’t really care what Snell and Wilcox makes…I have a broadcast monitor and my eyes…at the moment I have a day and a half wasted on this issue because the plain old FW out DV looks as good as the Avid codec at the moment…though I’m guessing this and the low data rate must be connected…
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net