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Uncompressed 10-bit SD filePosted by wolfskier
And let's make it clear: You will not get any better quality from your video footage because it was shot DV. You can't get more quality than what you shot. The only things that will improve are graphics and titles, whatever you added on top of the video footage. Those elements will look better if they are added in an Uncompressed 10-bit SD timeline.
www.derekmok.com
Rendering in high precision YUV, will usually improve the look of the video, especially if you are rendering through filter stacks, as it reduces rounding errors. It won't make a difference if there isn't much filters applied.
www.strypesinpost.com
Useful thing to remember though is that if you can make the titles look good in DV, they'll stand up to practically anything. On the other hand, design them in an uncompressed environment, and you may get the shock later on when you see it on TV, or on DVD, or a web movie, that the titles just don't work... Think about it...
Graeme
Graeme, can i ask if there'd a particular Order to apply the smoothing filter? would it be as simple as adding it to everything in the timeline, (Makgin it the last filter in the stack) or does it have to come before the CC? thanks, nick
> can i ask if there'd a particular Order to apply the smoothing filter?
> would it be as simple as adding it to everything in the timeline, > (Making it the last filter in the stack) > or does it have to come before the CC? Great question, since the Nattress image presets and 24p simulation filters don't work if applied after Color Corrector -- Graeme himself had advised me as such. www.derekmok.com
The issue with the 24p effects is simple when you get it: think in terms of the FCP effects pipeline.
At the root of it is the video. The output of the filter stack makes a new video, effectively, in sync with the original. in -> process -> out. Simple enough, unless you start to manipulate time.... If you do 3way CC then 24p effect, all the frames in that clip have the 3way CC, and all the frames have the 24p effect. However, 24p effect needs to "see" the frame before and the frame after the current frame. For the last and first frame in the shot, that means looking beyond the bounds of the shot. Due to the way FCP works, those frames don't actually have the 3way applied to them, and hence will look "different". Also, the 3way effect will get rendered every time the 24p effect asks for a frame. Because 24p effect needs multiple frames, it will be asking for what those frames with the 3way look like multiple times, and hence they effectively get rendered with the 3way multiple times, and that means loss of speed. Now put the filters the other way around, 24p then 3way. Now the 24p effect always sees the unprocessed video even at the ends of the shot, and the 24p comes first, so no longer does the 3way get rendered multiple times for each frame. Now it's just once. And that's the issue, and it only effects filters that manipulate time. Graeme
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