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Re: Have a great 2011. Happy New Year! - 13 years ago
And Happy New Year from up here in Canada! Graemeby Graeme Nattress - Café LA
Re: OT: 4:4;4 THE FUTURE OF VIDEO?????? - 13 years ago
System noise is usually the dither in the system. It's somewhat computationally expensive in a camera to add dither, and probably more than worthless if the signal is directly followed by a lossy codec. For imaging, the dither is usually spatial. Graemeby Graeme Nattress - Café LA
Re: OT: 4:4;4 THE FUTURE OF VIDEO?????? - 13 years ago
Also, it's worth remembering that the image processing is done in floating point and 16bit linear, and hence it's good to keep the bit precision in a rendered file higher than you'd actually need for strict 12bit linear. The difference isn't always utterly obvious, but in it is visible in some processing conditions. Bit depth also gets confusing when you get to lossy codecs. Lossy codecs generby Graeme Nattress - Café LA
Re: Red Workflow - 13 years ago
If you're going to do that, Export with REDLogFilm, and just make sure that the white balance is correct before the transcode and you're laughing. You'll get a fantastically gradable image, and you can easily de-log it in Nuke for VFX work in linear light. At the end of the VFX use lin2log and you'll match back to the REDLogFilm. There's always a theoretical benefit going back to the R3Ds. Butby Graeme Nattress - Café LA
Re: Red Workflow - 13 years ago
And did the clips come into FCP via log and transfer as that's the stage that assigns them the UUID? Graemeby Graeme Nattress - Café LA
Re: Red Workflow - 13 years ago
Has that problem occurred for you in practise? From what I understand, Cinema Tools uses the UUID which doesn't have that limitation. Graemeby Graeme Nattress - Café LA
Re: Red Workflow - 13 years ago
FCS3 installer - comes with workflow white paper that describes the options for you. Graemeby Graeme Nattress - Café LA
Re: OT: 4:4;4 THE FUTURE OF VIDEO?????? - 13 years ago
AD's are indeed linear. It's also necessary to have the data in linear form for matrix based colour correction. Graemeby Graeme Nattress - Café LA
Re: OT: 4:4;4 THE FUTURE OF VIDEO?????? - 13 years ago
The difference in a camera is that you have a prism that produces optical effects, and some 4:4:4 camera heads I've measured (HDC1500 ? comes to mind) have alignment issues with the three channels that mean although the output is 4:4:4, you couldn't in all honesty call the signal that quality. Graemeby Graeme Nattress - Café LA
Re: OT: 4:4;4 THE FUTURE OF VIDEO?????? - 13 years ago
Yes it's HD, but not XDCAM - no in-built recording. And it's rather old being used on the last of the new Star Wars movies. Graemeby Graeme Nattress - Café LA
Re: OT: 4:4;4 THE FUTURE OF VIDEO?????? - 13 years ago
It all depends on how the compression works..... :-) Graemeby Graeme Nattress - Café LA
Re: OT: 4:4;4 THE FUTURE OF VIDEO?????? - 13 years ago
Yup, we had snow the other day! Lovely. I love autumn. The thing with the traditional camera paradigm is that you use 3 chips, and the subsampling of the chroma was done after matrix and gamma and conversion to YCbCr because they didn't have the bandwidth to transmit without the chroma sub-sampling. Even with HD a single SDI link is 4:2:2 and two are needed for 4:4:4 and that's more expense. Oby Graeme Nattress - Café LA
Re: OT: 4:4;4 THE FUTURE OF VIDEO?????? - 13 years ago
That's an F950 - getting on a bit now..... Not XDCAM. Graemeby Graeme Nattress - Café LA
Re: OT: 4:4;4 THE FUTURE OF VIDEO?????? - 13 years ago
AFAIK, XDCAMs are MPEG2 based, and 4:2:2, so they do chroma sub-sample. If you think about it, chroma sub-sampling is "just" old analogue compression, although now performed digitally. It works, but it's crude. We can do oh-so-much better by not decimating the chroma, and applying modern compression technology instead. I'm sure that will come. However, the other trend is to compressby Graeme Nattress - Café LA
Re: Red2k-3k footage with HMC150 1080 - 13 years ago
The Scarlet in 3k looks pretty similar to the RED One in 3k. Low light performance is nice, and it shoots R3D files with the same workflow as the existing RED Cameras. If you can get hold of some RED footage, it will tell you what it's like, and because it's raw, you can "develop" it with whatever curve you want to match existing cameras. As Shane points out, Scarlet is very much proby Graeme Nattress - Café LA
Re: 1080 over 60i slow motion? - 13 years ago
You can use my G Map Frames (In standards Conversion Pack) plugin to do this - it extracts out the fields so going from 60i in a 24p timeline gives a nice 2.5x slowdown (40% speed). Graemeby Graeme Nattress - Café LA
Re: New camera - 13 years ago
No, we're not stopping development of Scarlet! Indeed, I was just shooting with a prototype last week and it's coming along nicely, although trailing Epic a little in it's development. The fixed lens is an absolute joy to use, and the recording quality was great. I was shooting in a dark studio at some outrageous ISO setting and still getting rather nice images. Yes, RED is focussing on profesby Graeme Nattress - Café LA
Re: 1080i, 50 & 1080i 60 - 13 years ago
Agreed on the EBU terminology being poor.... Graemeby Graeme Nattress - Café LA
Re: Resolution Question - 14 years ago
Only thing to do with resolution is actually measure it.by Graeme Nattress - Café LA
Re: Resolution Question - 14 years ago
Genesis uses an RGB stripe pattern of rectangular photosites - and uses a pair vertically - so (1920x3) x (1080x2), which on the F35 (same sensor as Genesis) leads to funky rainbow moire horizontally because although the RGB are not co-sited they're treated as if they are, and vertically the binning and low levels of optical low pass filtering lead to visible luma moire / aliasing. The simpleby Graeme Nattress - Café LA
Re: 24 FPS TO 29.97 Conversions - 14 years ago
All depends on how it's pipeline works. I always thought Shake asked for RGB from Quicktime, but even if it asks for r4fl, it's still going to be usually doing a YUV to RGB conversion. Graemeby Graeme Nattress - Café LA
Re: 24 FPS TO 29.97 Conversions - 14 years ago
You could compare against the original movie and match up some of the "whole" frames. Other thing to do would be just a pass-through test and see how that fairs. Graemeby Graeme Nattress - Café LA
Re: 24 FPS TO 29.97 Conversions - 14 years ago
There might be issues in Shake with it doing a YUV -> RGB, add pulldown -> YUV conversion?? Anyone know? Graemeby Graeme Nattress - Café LA
Re: 24 FPS TO 29.97 Conversions - 14 years ago
Not that I know of.... Graemeby Graeme Nattress - Café LA
Re: 24 FPS TO 29.97 Conversions - 14 years ago
If you want to do this kind of conversion inside FCP, my Standards Converter pack with the G Film Converter plugin has a film to NTSC mode that adds correct 3:2 pulldown as a FCP render process. Graemeby Graeme Nattress - Café LA
Re: How do I get rid of that "Digital" look? - 14 years ago
Largest contributor to digitalitis is edge sharpening. That's why we don't do that on the RED (we don't need it). In the end though, the key to a good look is ALWAYS good lighting. Graemeby Graeme Nattress - Café LA
Re: Best workflow from DVCPRO HD to Beta SP? - 14 years ago
There's no need to media manage back to uncompressed. That would lead to hassle, but no visual benefit. The Kona card should add the necessary 3:2 pulldown on playout of 23.98fps media for you to record back to SP. You'd just need to generate a SD timeline (again, prores is fine) at 23.98fps for that to work. Question though - why capture the DVCproHD via a Kona card - why not just over firby Graeme Nattress - Café LA
Re: Movie that FCP just own't open! (and solution) - 14 years ago
m4v is what handbrake converts to. Quality wasn't an issue, but speed was, and that's the first app I had at hand. Why the 29.87 - no idea, but given we are al having to use videos from lots of strange sources, I thought my experience might help people if they encounter FCP being obstinate! The conversion from m4v to prores was done "current" for fps, so the problem obviously existsby Graeme Nattress - Café LA
Movie that FCP just own't open! (and solution) - 14 years ago
So we had a promo on DVD to rip and put into an FCP project. The resulting m4v was not working. FCP wouldn't even import it - said unknown file type. So I converted it in Quicktime to prores, and FCP still gave the very same error. So I used the finder to make FCP the default app for that mov, and when FCP failed to open it, it gave a better error message - something about the frame rate and dby Graeme Nattress - Café LA
Re: PAL into NTSC doc - 14 years ago
Best would be to shoot 24p on the NTSC side, remove the pulldown and edit in a 24p timeline. Shoot 25p on the PAL side, conform in Cinema Tools to 24p, and edit along with the NTSC source material for the 24p master. Then you're clean for the web or DVD. It's quick to add 3:2 for broadcast, or conform back to 25p for PAL distribution. Graemeby Graeme Nattress - Café LA
