Tony
Forum Replies Created
-
A “True HD stream” can imply some many different technical specs and image quality.
AS of today it seems to only mean the image “is good enough” based on the economy of scale.
True HD in my opinion would imply a uncompressed 10 bit or above 1920×1080 image.
On that note I think film would be one of the only “true HD” images available with HDCAM SR second in line.
Tony Salgado
-
Alex,
Someone how you got the technical spec of dvcpro 50 wrong. The recorder does not record in 12 bit it is only capable of 8 bits.
The 12 bit you are referring to is the camera head processing not the vtr. So regardless of how you capture the original footage it will always be 8 bit.
However if you work in a 10 bit uncompressed sequence you will have an advantage when dealing with color correction.
Tony Salgado
-
Bob,
Please shut up!!!! If you have not made your money back within 2 minutes of buying the monitor then you are doing something wrong.
Ok just kidding but what goes around comes around.
All I can ask from you is please in the future never insult anyone who complains about price drops after having made a major investment.
Tony Salgado
-
Adam,
75% bars refer to saturation when bars are viewed on a vectorscope.
Vectorscopes can be set to display either 100% or 75% saturation.
75% bars are a standard primarily due to NTSC transmission issues with 100% saturation.
You can verify which saturation level your bars are by checking the levels on a vectorscope.
Tony Salgado
-
Kevin,
You were just joking right? Did you really expect Canon to secure the right to Panasonic’s DVCPRO HD vtr for a Canon product.
The specs on the Canon camera list that it is an interlaced camera which I have to ask why?
In 30 frame mode the camera would be psf but in 24 frame it appears it must be doing a 3:2 pulldown. I wonder if they are recording flags to reversing the 3:2 later in post?
Tony Salgado
-
Jiri,
Based on my personal experiences here in Hollywood having worked on high end shows and commercials 1080i and 720-60p will not be suitable for these applications.
Regardless of the spacial resolution 24P is an absolute requirement.
1080i and 720/60p are reserved for non dramatic, News,Corporate,IMAG and sports programming to name a few possible applications.
There is most likely a greater market of potential broadcasters who would buy a low cost HD ENG camera than there is for a 24P niche camera. Broadcasters buy in volume versus independent filmmakers who buy one item and never come back.
Grass Valley is looking at the bigger picture to saturate the broadcast market with a low cost solution.
Eventually they may add 24P to grab the Varicam, SDX-900,HVX-200 markets.
Tony Salgado
-
“This format plays back at 48i but contrary to Tony’s comments (and some of mine previously) PSF is captured in the camera as Progressive content and then segmented for playout from tape.”
Gary I never implied or said the above in my past postings. If you are referring to the Sony F900 camera which uses psf as the method to record and display images on to or from tape then yes it is true.
1080 24 progressive is not exclusively reserved for psf as Panasonic’s D5 HD vtr can record in 24P and 24psf.
However the Varicam does not use psf as the CCD scans and records full progressive frames to tape.
Regarding wrapping a 24P image within a 1080i signal yes this is possible by adding 3:2 and later extracting the 3:2 leaving behind the native 24P images.
Let us not confuse an interlace display 60i with a psf display 48i which is not interlace since the frame consist of one moment in time divided in half whereas the 60i interlaced image contains two moments in time within the full frame.
Tony Salgado
-
Jerry,
You do need a video card to accelerate your HD workflow as well as output the image with 3:2 pulldown to a monitor or output to tape.
You could work in dvcproHD codec at 720P/23.98 and view via a cinema display but that monitor is not accurate for critical color correction work.
There is no 1080 24P dvcproHD codec at this time only 720P or 1080i.
FYI 24P refers to 24 frame progressive scan so no you cannot have a progressive image within a interlaced image without adding 3:2 pulldown.If I may ask why did you output to 1920×1080 when the original work originated on dv? Unless you were planning to rez out to film which is highly unlikely given that you do not even have a HD card to view on a monitor this step seems like a waste time and effort.
Tony Salgado
-
Jiri,
Actually most of the show shooting with the Viper record to the Sony SRW-1 or 5000 HDCAM SR vtr’s.
Thomson did not come up with a cost effective recording solution for many of the rental houses who own Vipers. Third party hard drives systems used last year proved to be unreliable and a mess to deal with.
At this time HDCAM SR decks are the solution however this may change in the future.
Tony Salgado
-
Chad,
The last I checked AJA had a thirty day period in which to return a product if you were not satisfied with the unit. I had this option when I purchased my original Kona SD card and never had to use it because the unit worked from day one and is still working.
Keep in mind AJA tech support always stands behind their products. Something I can’t say other companies care to do.
Tony Salgado