|
Show all posts by userYour basic troubleshooting forum for all things FCP Legacy (FCP 7 and below.) And general discussion on topics that do not fit in the other forums.
Not registered? Click HERE to register now Re: duplicate a shake using SmoothCam? - 13 years agoJeff Harrell Wrote: ------------------------------------------------------- >... an editor's mentality is "I could've been done > by now if I'd just used the proper tool for this." It turns out that FCP SmoothCam is a good tool for this. The job took 10 minutes. The "proper" tool?" That's relative to common practice. Isn't a purpose of this forum to impby dcouzin - Café LA Re: duplicate a shake using SmoothCam? - 13 years agoIT WORKED! Dennis Couzin Berlin, Germanyby dcouzin - Café LA Re: duplicate a shake using SmoothCam? - 13 years agostrypes Wrote: ------------------------------------------------------- > You can't do it with SmoothCam. Can't!? How can you be sure SmoothCam can't be tricked into thinking the second shot is the first shot after SmoothCam has analyzed the first shot? I find a .mtdf binary file made by SmoothCam from its analysis of the shaky footage. The filesize is 24 KB for the 210 frame shotby dcouzin - Café LA duplicate a shake using SmoothCam? - 13 years agoI like the camera shake in a shot and wish to duplicate it in a second, shakeless shot. I don't expect to duplicate the blurs; the movements will be enough. In old times I'd do it frame-by-frame. Never again. FCP includes SmoothCam. When SmoothCam removes the shake from the first shot, it probably builds a frame-by-frame list of the small movements that cancel the shake. Is there a way to aby dcouzin - Café LA Re: Progressive or Interlaced? - 13 years agografixjoe Wrote: ------------------------------------------------------- > Can't believe this is even being discussed. > Interlacing should DIE. > > I personally have been doing EVERYTHING for TV / > Internet / etc in 720p Mastering Format for the > last 2 years. Good riddance. 720p24 or 720p60? Dennis Couzin Berlin, Germanyby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoTo Loren Miller and Sproketz. When there is no motion in the frame, 24p video and 60p video look the same, although 24 fps cinema and 60 fps cinema don't look the same (because of the black interruptions at 2 or 3 times the fps in projected cinema, etc.) For very slight motion in the frame, 24p video and 60p video still look the same. For some degree of motion they look different. Experimentsby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agostrypes Wrote: ------------------------------------------------------- > I was referring to 50p vs 50i. There simply is no > viable means of distribution. A semi 3d projection > could be your solution. strypes, are you suggesting splitting the original 50p into two 50i's (with different dominance) and then coding these as the two eyes' images in a 3D Blu-ray? Well, this gets theby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoJude: sorry it looks that way -- you slightly misquoted me. Actually I began the strand looking for technical workarounds for the lack of 1080p50/60 support and found that it was even less than I imagined -- no Blu-ray distribution either. Dennis Couzin Berlin, Germanyby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agostrypes Wrote: ------------------------------------------------------- > 50/60p offers better spatial resolution, rather than temporal, when you compare it with existing technology. Compared to what? 50/60p offers better spatial resolution than 50/60i. 50/60p offers better temporal resolution than 24p. Temporal resolution in the sense of very brief events, e.g., if you shoot video ofby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agostrypes: is Panasonic's 1080p50/60 just a clever marketing gimmick to sell their $100 cameras? Many of the camera's other gimmicks don't work in 1080p50/60 mode. And it's quite a bother for the users to even view their 1080p50/60 material. But the 1080p50/60 material looks much better than the same camera's 1080i50/60 material, since Panasonic rigged the comparison by making them 28Mb/s and 17Mby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoPrecisely, pros ignoring CONSUMER (popular, natural) tastes at their peril. Dennis Couzin Berlin, Germanyby dcouzin - Café LA Re: XDCAM causing FCP to crash? - 13 years agoXDCAM HD 422 being MPEG-2 compressed and yet a hefty 50 Mb/s calls for ProRes 422HQ transcode. Dennis Couzin Berlin, Germanyby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoShane, read the recommendations of the EBU and the Japanese Broadcasting Corporation. They recommend broadcasting 1080p50/60. If 1080p24 were so jolly terrific they could broadcast 1080p24 and save a lot of electricity. Ask yourself why Panasonic introduced their 1080p50/60 cameras. It was Panasonic that originally introduced 24p in prosumer camcorders. Did they have their ear to the grouby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoTo Craig, they're really hooked on 24p. It's an LA-based crowd, from movieland, and that movie look (and lack) has a hold on some. But they overestimate the love for 24p in the broader video and TV market. The public was excited by the first photos, the first movies, the first color movies, and the first sound movies because aesthetic distance is the opposite of what the public wants. I thinkby dcouzin - Café LA Re: Shutter speed advice needed. - 13 years agoTo Andreas: Twixtor sounds nice. This is software that reconstructs the reality from the original snapshots (frames), and then takes new snapshots at new times and with new shutter times of the constructed reality. My first instinct, always, is to defeat the godlike software: to create some video on which it makes hilarious artifacts. Dennis Couzin Berlin, Germanyby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoTo Shane: that's a poorly designed experiment since material shot in 60p can't be cleanly transformed to 24p. To do the experiment right you must either shoot twice, once at 24p / once at 60p, or else you can shoot at 120p and then derive both the 60p and the 24p from it. Shooting twice is quite a problem both for the Heraclitan reason and because shooting at 60p requires 2.5x more light in ordby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoThe people who are clamoring for 24p are clamoring for the 'p' not for the '24', and it's because interlaced video looks fake. Simple people are not afraid of too much realism. Only high aesthetes worry about that. Dennis Couzin Berlin, Germanyby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoShane Ross Wrote: ------------------------------------------------------- > Have you gone into a large electronic store where > they have an HDTV set up a "special way" to play > video in what they call "super HD?" They are like > 60Hz TV sets. What they do to 24fps...by making > it 30fps...or like 60fps? UGH! Horrid! > ABSOLUTELY HORRID!! If youby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoTravis: Douglas Trumbull did research frame rates for his "Showscan" system, finding that nothing changes beyond 60 fps. That is plausible. Dennis Couzin Berlin, Germanyby dcouzin - Café LA Re: Shutter speed advice needed. - 13 years agoThere are two separate problems here: irregularity of timeflow; insufficient motion blur. Timeflow. The Sony VX2100 normally shoots interlaced video. When FCP makes 2x fast motion it probably does not discard every other field but every other frame. This leaves a sequence of fields representing: time = 0/60 sec time = 1/60 sec time = 4/60 sec time = 5/60 sec time = 8/60 sec time = 9/6by dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoShane Ross is right. The Blu-ray specification does not include 1920x1080 50p or 60p. The disc capacity and data-rate are sufficient, but BD is not playing leader. The Wikipedia statement on Blu-ray 1080p is misleading. There are already many displays and projectors with 1920x1080 50p/60p capability, and now popular cameras shooting it, so I expect there will be a distribution medium soon.by dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoThe argument you're making, that excessive realism detracts from storytelling, is an argument for reading the book and not seeing the film at all. Films and videos are not just for "storytelling". Such a priori arguments have been made against the use of color vs. B&W, against fine grain vs coarse grain, against sound vs silent, against sharp lenses vs old uncoated lenses vsby dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoTom, that's exactly what I've done. It's been edited in ProRes 1080p50. The question is about how now to output it.by dcouzin - Café LA Re: it's time for 1080p50 and 1080p60 - 13 years agoJeff Harrell, I have done the experiment and seen with my own eyes the perceptual advantage of higher frame rates. When your client did the experiment, did he do it correctly? For example, if his camera compressed the 30p footage more than the 24p footage in order to achieve a certain bitrate that's not the experiment. Your client pronounced the 30p footage "cheap, like a soap operaby dcouzin - Café LA it's time for 1080p50 and 1080p60 - 13 years agoAfter always running behind -- shooting 16mm until 1995, shooting DV until 2009 -- I tried to step ahead in 2010 by shooting 1080p50. 24p, 25p, 30p frame rates are insufficient for good motion perception. This was long known for cinema, and the 60 fps "Showscan" movies of the early 1980s were impressive for their kinetic realism. On the other hand, interlaced video is aestheticalby dcouzin - Café LA Re: 1080i, 50 & 1080i 60 - 13 years agoI would have said the same as Jeff Harrell: "There's no such thing as '1080i24' or '1080i30'. Those might've been typos..." and I would have been similarly corrected by grafixjoe who points out the EBU notations '1080i/30' and '1080i/25'. The EBU terminology is horrible terminology for those shooting or editing video. 1080i/30 means 30 frames per second only indirectly, in the senseby dcouzin - Café LA Re: re: ProRes 422, 422 HQ and 4444 vs. Uncompressed HD - 13 years agostrypes Wrote: ------------------------------------------------------- > What do you use to get pixel values from a video frame? I've been using SweetScape 010 Editor to view binary files. 8-bit uncompressed 4:2:2 files are quite transparent. Starting at a left edge of the image, the file reads Cb, Y', Cr, Y', Cb, Y', Cr, etc. row after row, from left to right through the image. Each tby dcouzin - Café LA Re: re: ProRes 422, 422 HQ and 4444 vs. Uncompressed HD - 13 years agostrypes, was your report really a response to this insane statement from the COW FAQ: "With the HQ version the CPU is actively interpreting all 256 levels of grey on encode but passing that back out re-interpreted with all 1024 levels on output, that is one HUGE Mathematical Processing task"? The COW writer seems not to understand binary numbers. An 8-bit scale can be converted to aby dcouzin - Café LA Re: re: ProRes 422, 422 HQ and 4444 vs. Uncompressed HD - 13 years agostrypes, I confirmed your 27 June findings on ProRes SQ vs. DV25. That is, I rendered an uncompressed 8-bit gradient into each codec and from these exported to 8-bit uncompressed for examination. I know the ProRes should have been exported to 10-bit uncompressed, but I'm not well set up for examining those files, and it's easy to examine 8-bit uncompressed files. Indeed ProRes SQ reproduced thby dcouzin - Café LA |
|