Uli Plank
Forum Replies Created
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If that monitor has DVI too, you’ll need nothing else. But Apple’s Desktop Cinema Preview won’t output to SDI.
Regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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You’ll have problems with Digital-S, though, since AFAIK the digital transfer of that format needs SDI and there are no cardbus adapters for that format. Analog transfer would be possible with the box Ajith mentioned.
Regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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If you are doing quite a bit of graphics or text, using Photo-JPEG at 75% as an intermediate codec would be an alternative. It doesn’t take much more space than DV and looks better, very close to uncompressed, while it runs from ordinary drives.
Regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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To encode H.264 (aka MPEG 4 AVC or Part 10) you’ll need serious computing power. I don’t know of any hardware solution yet, but Apple supports distributed compression by QMaster, so get the number of Macs you can afford and network them for compression.
Regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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If you havde control, you can digitize. Other than DV, HDV is not displayed in the window if you have a PCI graphics-card (see Apple’s late breaking news).
Best regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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Hi Paul,
what you are saying here is exactly my suggestion. It’s very clear to me that any changes or additions other than hard cuts in a timeline set for the original codec will be degraded in quality.
BUT: if you are on a tight budget and are aiming for any other output than HD on tape, like film transfer or HD-DVD, you can pull your stuff via FireWire to a Mac without additional cards or expensive RAIDs. Then you do a kind of offline on a timeline set to the DVCProHD codec. Many things will be realtime here!
When you have finished offlining, you change the timeline to something better, like uncompressed 4:2:2 10 Bit and re-render. Then you hand the result over to film transfer or compression for DVD and you shouldn’t have compromised any tiny bit on quality.Or am I completely misunderstanding things here?
Regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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Hi Leo,
you are absolutely right, but for serious effects work one shouldn’t use a highly compressed format from the start…
AFAIK the Varicam is limited to 960 by 720 pixels and the recording on tape is 100 mbps
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It looks like working in 24 fps (actually 23.98) will be the way for us European users too. You’ll need to edit in a 24 fps timeline and later speed the stuff up to 25fps by conforming in CT. To avoid the speed change you can shoot 25, use the FRC for a mild slow-down and the end result will be correct in 25 again.
I don’t think that working via SDI is a better option. It might simplify your workflow, but it’s a waste of space and bandwidth and the conversions involved won’t improve your material.
Regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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Actually the stabilizer in FCP would disappoint you. But have a look at this stabilizer from Germany: http://www.istabilize.de (there’s a demo online).
There is a good one as a plug-in for FCP, but I forgot the name. I tend to use AE for such jobs.
Hope this helps,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.
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We have developed a film transfer here at the our research institute which is using Photo Zoom Pro (formerly called S-Spline) and we get very good results from SD footage. Many cinema people don’t even believe it was shot on video.
But I hope we’ll see something even better from Graeme.
Regards,
Uli
Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.