DVL-Digest 525 - Postings: Index "Timecode" colour space on a GL1? Panasonic DV Cameras? "Timecode" - Adam Wilt > Well, there was at least one cut in the movie that was pretty > obvious, so I wonder about the accuracy of the article. Well, in the discussion that followed the showing I attended, Figgis said they were all continuous takes, with no cuts. No one in the 150+ people who saw the show spoke up to question him on this, and the nature of "4 simultaneous shoots with no cuts" was discussed for about 20 minutes. I'm not saying that were *were* no cuts, but if there were, then we were all blind AND we were all led down the primrose path! > Also, I think the CG credit said something like "shot on > Nov.(?) xx, 1999 in 4 takes. So they could've meant > that 4 of the 14 takes were shot on that day. The deal was to shoot the show in the morning around 9 or 10 am. The "rushes" would be watched over lunch, and another pass would be made around 2:30 or 3 in the afternoon. In all, there were 14 or 15 complete, 4-camera, sync-rolled productions of the show. The 4 takes used were the four camera tapes from that one afternoon. There was no hard-and-fast script; improvisation was encouraged, and people were told to wear different clothes on different days to reduce the temptation to mix 'n' match. The "script" was written as a score on music paper, and the only hard and fast rules were that there were certain events (earthquakes, important meetings) that had to hit temporal marks. But with a dispersed "set", things were bound to vary; cars could get stuck in traffic, people could get diverted, whatever. It simply wasn't possible to mix 'n' match takes from different shoots, because the synchronization simply wouldn't line up. Cheers, AJW colour space on a GL1? - Adam Wilt > I'm wondering what is the colour space on the analog outputs on a GL1. On the analog outputs, it's about 4.2 MHz Y, 1.5 MHz for I & Q. It's not sampled any more, it's merely bandwidth-limited. For what it's worth, the 1.5 MHz band limit on the I & Q signals is roughly equivalent to 4:1:1 color sampling. Whether the signal was upconverted to 4:2:2 prior to output is not especially relevant as it's been low-pass filtered before or after conversion to analog to prevent ringing and other analog artifacts. Oops, I see you spell it "colour". In that case, Perry should tell us what the bandwidth limits are for PAL's Y, U, and V signals! I think U & V are good to about 2.25 MHz? When discussing analog signals with subcarrier modulation of the colour, 4:2:2 is overkill. 4:1:1 and/or 4:2:0 are well-matched at reducing data rates whilst maintaining the colour resolution needed for analog (I notice "analog", not "analogue", so maybe you're in NTSC-land after all, grin). Cheers, Adam Wilt Panasonic DV Cameras? - Adam Wilt > Or you could look at the latest edition of Videography (May 2000) that > features Emmy Award Winning Videographer Sterling Johnson and the work he > has done with the predecessor the AJ-D200. Remember, this is the often-reviled D200: no manual gain, no ND filter. Since this camera is obviously no good, clearly it's only the superior talent of Sterling Johnson that allows him to get stunning imagery from it! :-) Cheers, AJW (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
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