DVL-Digest 548 - Postings: Index D9 - (2) D9, et al Dutch Angle DV AVIs and Mud Sharks (was: S Editing Codec Question Sony VX2000/PD150 for 35mm tra stop motion training books D9 - Adam Wilt nospam-adamwilt@flash.net > Where DigiBeta indisputably IMO has a significant advantage over any > DV-based format (including Sony's) is that the larger tape size should > make it sturdier... That's one of the arguments that JVC makes for D-9: the VHS form factor spreads the data over a larger area than 1/4" formats use. > I strongly suspect Sony is going to use DigiBeta as the major format > for (H)DTV upgrades to 480p and, eventually, 720p. Well, the Beta cassette form factor certainly is the basis. Aside from Beta, BetaSP, and DigiBeta, there's BetaSX, IMX, and HDCAM. Sony even has a player that will take *any* of these formats and play it back! > If Jan has news of Panasonic's longer range plans in this context, I'm > sure everyone at this list will be all cyber-ears. The DVCPRO100HD kit will play back any of the 1/4" DV-based formats, as I recall. > Though, what I'm awaiting is 480p _and_ 4:2:2 sampling. Hmm, didn't JVC show a 4:2:2 480p system based on D-9 last year at NAB? AFAIK the only shipping 480p kit is DVCPRO-P, but it's a sort of field-sequential 4:2:0 system with quincunx sampling. The pix will knock your socks off, nonetheless. Bloody gorgeous! Cheers, Adam Wilt a DV FAQ: http://www.adamwilt.com/DV.html D9 - "Perry" nospam-perry.mitchell@btinterne (further to Jan Crittenden's post) All other things being equal, which I'll admit they are not, the format tape size being bigger gives you two benefits: 1) More space for data redundancy, which gives potentially a more rugged recording. That means a better ability to withstand tape damage, and therefore potentially less drop-out. 2) A better chance of reading data at faster speeds, and therefore better shuttle pictures. Of course, technology advances and a D1 for instance needs a much bigger tape than a D5, but for similar aged machines the extra tape area will give potential benefits. Whether these benefits are realised, and whether they are worth the need for a bigger transport is of course another story. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ D9, et al - "Perry" nospam-perry.mitchell@btinterne Jan Crittenden posted: > Actually because the DCT level of the DV algorithm is identical, for all practical purposes, to the DCT for MPEG2, the conversion to MPEG2 is pretty seamless. Losses are based on the MPEG2 algorithm and are thus planned losses. Except that since Wayne was talking about 'consumer' we are looking mostly at the DVD version of MPEG2 which is of course 4:2:0 as opposed to DV (NTSC) which is 4:1:1. I find it difficult to know how that is 'pretty seamless'. Of course us PAL folk can enjoy less seams with our DV and DVCAM transfers because they are also 4:2:0, shame DVCPRO is stuck on 4:1:1 in PAL as well! (just joshing Jan :}) Perry Mitchell Video Facilities http://www.perrybits.co.uk/ Dutch Angle - "Perry" nospam-perry.mitchell@btinterne This whole subject (of obscure terms) has a far reaching basis. All professions, jobs and pastimes tend to gain a set of unique terms that collectively act to deter 'outsiders'. Learned professors may hide behind Latin, Institutionalised Engineers probably use acronyms and the working man often resorts to slang. In UK, slang often thrives as a barrier against authority and thus a lot of our terms originate with the Forces or with those on the wrong side of the law. Slang also commonly acts as a barrier against newcomers, and I have found that the more mundane (yet sort after) the job then the more likely there is to be slang defences. In a parallel to language, there are often technical defences. The worlds of the Law and Finance are absolutely rife with them. You cannot do this unless you get a licence, and you can only get a licence by doing this! Broadcasting is equally rife with such practices; you must be in the Union, you must supply on DigiBeta, you gotta have a showreel, and most important you gotta know what I mean when I say Dutch Angle! I suppose that at the end of the day it is just human nature. Enough philosophising for a Monday morning! Perry Mitchell Video Facilities http://www.perrybits.co.uk/ DV AVIs and Mud Sharks (was: S - Adam Wilt nospam-adamwilt@flash.net > On the other hand, yes, you would. Because Premiere doesn't accept any > sort of direct DV input. At least, not out of the box -- maybe there's a > plug-in that can be used. Such plugins are available from many DV capture card vendors. > Otherwise, you'll have to transcode all your DV files to some Video for > Windows format, which has to live in 2GB chunks. Some systems (Matrox, for one) provide codecs that handle Type 1 AVIs, eliminating the 2 Gig limit. > "Destined to take the place of the Mud Shark in your mythology" OK, I give up: what's the deal with the Mud Shark? Cheers, Adam Wilt a DV FAQ: http://www.adamwilt.com/DV.html Editing Codec Question - Adam Wilt nospam-adamwilt@flash.net > If I start with an analog NTSC video source (live feed from broadcast > mixer) and compress to DVCAM or to MJPEG or to MPEG2, all with the same > (general) file size, and then convert the files back to NTSC, what > differences will I see from each CODEC? The quality, from worst to best, will be: MJPEG DVCAM, MPEG-2 I-frame MPEG-2 IP MPEG-2 IPPP MPEG-2 IBP At 25 Mbits/sec, the differences will not be HUGE, but they will be visible to the perceptive observer. Of course, this is with direct viewing on a studio monitor. > Has anyone posted samples of same on the web? Not yet, but I'm working on it. Cheers, Adam Wilt a DV FAQ: http://www.adamwilt.com/DV.html Sony VX2000/PD150 for 35mm tra - "Perry" nospam-perry.mitchell@btinterne zigzag posted: >They now have a PD150 and within the next while should have some test footage transferred to 35mm. He seems to like the camera a lot, but was unaware of the possible issues brought up here recently regarding the camera's aliasing/anti-aliasing filters. He specifically requested further information. I think there is a lot of misunderstanding about this form of aliasing. Basically it is solely determined by the subject being shot. If there is nothing in the picture to create aliasing, then the image will be nice and clear. If you have the wrong subject matter then the aliasing will suddenly jump out and hit you. Usually this will be obvious in the viewfinder, but it certainly should be a WYSIWYG scenario. Conversely, the PD150 has a higher resolution than would be the case with a more effective anti-alias filter installed. I would assume that this would give sharper 35mm which may or may not make the Swiss Effects people happy. I hope you can relay to us the results of their tests when they have been assessed. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ stop motion training books - "Perry" nospam-perry.mitchell@btinterne >After seeing Chicken Run, and noticing all the ads on TV now using stop motion characters, can anyone out there recommend a good book on the technique? Reminds me of the old 'Palace Lawn' story. I guess the new version would go something like: You take a picture, and move the characters just a little bit and take another picture, and move the characters just a little bit and take another picture, and about 130,000 pictures later you have a nice movie! I think what is amazing about Nick Park is the way he gets 'real' film techniques to apparently work so that you get motion blur etc. I saw the 'how the movie was made' the other day but it revealed very little of these techniques and I suspect that many of them are trade secrets. I did notice that they now use electronic frame stores to check the frame to frame movement. I also noted that he looked decidedly pissed off with the whole Hollywood scenario and couldn't wait to get back to his own projects! Perry Mitchell Video Facilities http://www.perrybits.co.uk/ (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
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