Uli Plank
Forum Replies Created
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We just made a test of all four contenders below 10K for our own decisions on investments for this year.
IMHO, if broadcast in SD is still important for you for a while, I’d go with the Canon. It has the highest resolution of the whole bunch and it is giving you genlock and all kinds of output.
Who says you’ll need an extra deck? It’s SDI output (with the possibility of real-time down-conversion) can go right into a pretty cheap Blackmagic card and you’ll get images that are pretty darn close to what we got for years from Digi-Beta.
IF
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After Effects 7 has it’s own optical flow filter for retiming. It’s about as good (and as slow!) as Twixtor.
Another option is ReTimer from Realviz, France.
Hope this helps,
Uli
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I’ve found even downscaled HDV very close to Digi-Beta when it’s lit well.
Regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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If you have the possibility in the studio to get analog HD component from the camera as your input directly into the computer system, you’ll always be better off.
But once you’ve taped, the chroma resolution is lost forever. The codec is applied when recording, so it doesn’t matter if you transfer native or uncompressed into the system, the damage is already done. This applies to DVCProHD as well as HDCam (the ordinary version, not the high-end one used by folks like George Lucas).
You’d be surprised at the quality even a Sony Z1 can deliver via analog component as compared to the heavy MPEG-2 compression.
Nevertheless, you should use an uncompressed format (or very mild compression) in your editing system for any heavy graphics or effects work to avoid further damage. I can’t judge the Avid HD codec, but on our FCP systems the uncompressed codec from Blackmagic is a very good choice.
Hope this helps,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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Motion has a nice slo-mo option: you’ll get an optical-flow filter when you register.
@ Graeme: I’m really looking foward to seeing your G Sharper in Motion, as well as the up-rezzer when it’s ready.
And I’ll second the need for a good color-corrector, maybe with secondary correction in luma ranges?
Until now, I need to change to Color Finesse for that, which doesn’t like Motion.
Best regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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Did you ever try DV Matte Pro or DV Matte Blast (realtime, for Motion 2) from http://www.dvgarage.com ?
It can work miracles on any format, not only DV, with reduced color resolution (and, BTW, regular HD-Cam is reduced as well).
Regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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Apart from what others said already
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Did you export a rendered version? You can save a project from Motion without rendering, but then you can only play it on a Mac with a Motion-compatible graphics-card. The Mini doesn’t have such a card.
Regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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It works very well for me, and I’m working in PAL too.
It’s easy to confuse settings, though, since Motion offers settings for general digital video (upper field first) and DV (lower field first). Could this be the case?
Regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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Motion running on it’s own, it happened when I tried a 16-Bit preview render.
Regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.