DVL-Digest 549 - Postings: Index audio levels keyframes in FCP D9 D9, et al - (2) DeNiro co-stars... Dv to VHS looks shabby Frame Mode: XL1 vs PD150/VX200 audio levels keyframes in FCP - Adam Wilt nospam-adamwilt@flash.net > I am trying to produce an audio track fadeout in FCP 1.2. I made two > keyframes, 2 seconds apart, and the line between them is a curve whose > slope increases with time. I do not want a curved slope of any kind. > I wanna straight line. What am I missing? You *want* the curved line. Hearing is logarithmic; the curved line gives the perceived effect of a sound fade that drops off at a constant rate. A straight line would sound like a quick initial drop with a slower fall-off at low levels; a fast decay with a delayed release, if you will. Besides, I don't know how to get a straight line in FCP if you wanted to, though Premiere will allow it. Trust me, though, the linear option doesn't sound right. Cheers, Adam Wilt D9 - Adam Wilt > Adam wrote: > > > 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? > > [Crittenden, Jan] Sorry it was also 4:2:0 Quincunx just like > DVCPRO Progressive. Thanks for the correction, Jan! No need to be sorry; it just proves how excellent 4:2:0 quincunx progressive pix look. Bee-youtiful! D9, et al - Adam Wilt nospam-adamwilt@flash.net > >For the first generation,... > >At fourth generation,... > >At seventh generation,... > > I know that the best way to make a compression scheme fall apart > is to dub it down a few times. But, in a world where most (?) > editing and more and more origination are coming directly off hard > drives, isn't this beginning to move towards the "how many angels > on a head of a pin?" type of argument? First, this was a test to stress the formats under typical production needs, such as picture shifts through DVEs and the like. As part of that they went seven generations because that will bring out any defects not readily visible in the first or even fourth generation. And while we might think that we're done after one or two generations, what about five years from now, when that edit master is pulled off the shelf and scenes are extracted for repurposing? And then someone else 20 years down the line takes that re-edited show and pulls a scene from it? Cheers, Adam Wilt D9, et al - "Perry" nospam-perry.mitchell@btinterne Adam(or any other volunteer): Any chance you could translate Jan's theories of seamless interchange from DV to MPEG2? I'm afraid she has completely lost me! Perry Mitchell Video Facilities http://www.perrybits.co.uk/ DeNiro co-stars... - Adam Wilt nospam-adamwilt@flash.net > Just looked at a trailer for the new De Niro film "15 Minutes"; > apparently a Sony DV camcorder co-stars. Not familiar enough with the > Sony line to identify it. It's a 3 chip camera with a flip out screen, > maybe the PD-100? Close! As far as I can tell it's a TRV900, the PD100's civilian brother. Cheers, AJW Dv to VHS looks shabby - Adam Wilt > > Then I put a time base corrector in the line... beautiful copies. > I thought that the DV format output stream is already TBC corrected? DV *is* TBCed. My guess is that the proc amp control on the TBC made the difference. A bit of pedestal boost, color desaturation, and level fiddling can make for much nicer VHS copies. Cheers, Adam Wilt Frame Mode: XL1 vs PD150/VX200 - Adam Wilt nospam-adamwilt@flash.net > I have a client who loves his video shot with the XL1 in "Frame Mode." > He's getting ready to do a new video & I was wondering how Sony's new > PD150/VX2000's Frame Mode compares to the XL1's. The Sony at 1/30 appears to interpolate one field from the other; it's much better than simple field doubling but not as sharp vertically as the Canon FMM, which in turn is not as sharp as true progressive scan. It sounds sucky, but on most program material you'll probably find that you won't notice the loss unless you do a lockdown and flip between 1/60 and 1/30. Of course if you shoot a test chart you'll see it! OTOH the Sony is free from vertical color fringing, a side effect of FMM on the Canon. Cheers, Adam Wilt (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
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