Tony Manolikakis
Forum Replies Created
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Jeremiah
Playing back realtime means that you are rendering but rendering fast enough that each frame is “calculated” in time to playback in the time required (eg 1/24 th of a second or 1/30th of a second etc) so in that case the 8 bit vs 10 bit should not make any difference, because you are not recompressing to DVCPro HD. You are decompressing the file, applying the effect to the decompressed data -which is no uncomprssed – and passing that data out through the board. As long as the board and the effect are able to process at a bit depth higher than 8 bit you will get an output that is higher than 8 bit. Once you need to render to a preview file or output to a file then you are recompressing the DVCProHD, which is a lossy 8 bit codec. This is the reason you may see color shifts between realtime and non-realtime segments in a timeline and also why there is a setting in the preferences to render realtime segments. This is similar to playing back a file and viewing on your HD (CRT) monitor, looks good. If the playback is realtime then your monitor is showing you decompressed footage. Now lay that back to tape in a lossy format, DVCProHD, does not look as good. Because you are introducting another compression pass.
Both workflows make sense to me and I have done both depending on what my final needs were. My preference is to create masters in uncompressed especially if there are lots of graphics involved.
Tony
Rev13 Films -
Take a look at the MXO from Matrox.
Tony
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Take a look at the MXO from Matrox.
Tony
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I agree with you guys for graphics, but shouldn’t the filter be doing it’s job and clipping the whites. What about video that has white’s that peak in it. I usually color correct first and try to get the image looking good before applying the broadcast safe filter. But this still sounds like a bug…
Tony
Rev13Films -
“Hours of conforming during realtime playback”
I am not sure I understand what that means? Anyway, Greg Mulvey was also on the beta and he used it extensively with HDV, maybe he could post some more details. I used it with P2 and various flavors of SD. It worked very well in every case. There is no compromise required to do what it does.
Tony
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I am using a Mac tower. Dual G5. The point I was making is that if you are coming in from P2, HDV, XDCAM, Firewire etc not to mention FC or other network setups where you have ingest and editing done on different workstations;You do need output if for no other reason than to preview on a broadcast monitor. That is where the MXO comes in. One thing that I found very useful lately, and I have heard others ask about, is aspect ratio conversion. I was editing a show that was shot SD but anamorphic 16×9. With the MXO I could choose to output, letterbox, center cut or anamorphic with a simple preference. Anyway, just thought you guys would like to know…
Tony
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Right. The whole presentation aspect of the product is cool. Don’t forget this is not a card, its a small box, so it is portable to any system that can run HDV or DVCProHD can have HD-SDI out ( as long as you have a compatible graphics card). Also, I often do Combustion or After effects on a non FCP based system so rather than dedicated a Kona card to you compositing workstation, you can just pop MXO onto it to see your comps on an HD or SD video monitor. I agree this is not for everyone, but it does address a need.
Tony
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AJA IO does not do HD would be the obvious argument.
Tony
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I read on a press release that the product is $995. Graeme, you are quite right about the YUV, I am no longer with Matrox so you can not blame me :). I am a beta tester on the product and it is quite an interesting design.
Tony
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I am unclear about this. So when you set the pulldown type in FCP to convert fron 23.98 to 29.97 Kona can NOT take the result and down convert it to NTSC?
Tony Manolikakis
Rev13 Films