Uncompressed 10-bit SD file

I was advised to use Uncompressed 10-bit SD file as a basis to preserve the most quality from my DV based video files when outputting to CD/DVD.

How do I configured my time line to this format?

Thank you for all your previous help. It has been a learning experience!

Just change your timeline compressor from DV to uncompressed 10-bit and re-render.

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

Understood that one cannot makes things better - just wanted to keep the graphics cleaner. Thank you.

as DVDs are only 8-bit,

is exporting as 10-bit going a bit over the top?


nick

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

as William Holden says in Stalag 17:
ach, so....

so in that case guess one of those color smoothing filters would be a good thing to throw into the mix, too?

Yes, doing a chroma smoothing on 4:1:1 DV will help because DVD is 4:2:0 and those two clash horribly if you don't help it along a bit.

Graeme

What I keep thinking about is if the movie is DV and the titles are 10-bit uncompressed, won't the titles look too good for the movie? I suspect in most cases such titles would be distracting. I don't know... just a thought from a schlepper

now really, thats just too silly

no one wants slightly steppy, banded graphics.
people and images will not show up the sort of problems that graphics will in DV.

you know if you shot a film in 16mm, and are releasing it as 35mm, you'd do your titles 35.


nick

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

Quote
Graeme
yes, doing a chroma smoothing on 4:1:1 DV will help because DVD is 4:2:0 and those two clash horribly if you don't help it along a bit

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

I've never found it matters too much where it comes in the stack. Just having it there really help though!

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,
> (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

cool, thanks.

n