DVL-Digest 642 - Postings: Index Adam Wilt & Fuzzy Bits best tapes for Sony TRV-900? DV-L Archives (finally) on the Gyro Stabilisers? Importing music off of an Enhanhed CD into FCP Macrovision New camera stabilizer that's o Adam Wilt & Fuzzy Bits - Adam Wilt ago, in > case you didn't see it) Whoops! Saw it, but got distracted before I could reply to it. > ( by boxing kangaroo of course, Go Cathy !... Really. The kangaroo's name should be "Skippy"; Cathy is someone else entirely... [Several follow-on witticisms come to mind, each more pol= itically incorrect and inflammatory than the last, unfortunately.] > A cannon is fired on a ship. > Watch the video and a violent jet of flame is clearly seen, quickly > swallowed by smoke. > Capture the clip and frame-by frame try to find that flame and the = program > wont let you (Premier w. DV500). You can clearly see the flame as y= ou > advance to the correct frame, but when the picture settles down, al= l you > get is the subsequent smoke. So I'm guessing the flame only lasts f= or one > field and the consequent interlacing with the 'smoke' field = hides the other. Sounds like the DV500 is going into field mode when paused. It's poss= ible / probable (as you suggest) that the flash occurred in 1/50 of a second= or less and is thus only present on one field of the image -- the field dropp= ed by the DV500 in still mode. > So, how can I capture the "flaming' field as a usable still? How to capture the flaming thing? Try single-stepping through the cli= p with hardware tuned off (if possible) and monitoring in the software-rende= red clip window. Or, if you know pretty much where the flash occurs, export a stills s= equence =66rom that region of the clip, and look through the resulting stills= for the field you want. Or, move to an NLE that shows you both fields even when paused. In all cases you'll probably get the full 720x576 pixel still with bo= th fields. You'll have to throw away the "wrong" field to get a clean im= age; check your favorite NLE or paint program filters and functions for as= sorted deinterlacing options. Next time, shoot interlaced: the HDW-F900 is a bargain at US,000 = plus lens! > 2) > A nice acceptably smooth-edged frame in the middle of a moving sequ= ence . > Capture the clip, isolate the frame, save it, > Then: the saved bmp breaks up into "interfield edge combing" (known= to the > masses as "fuzzy lines"). > So, as the frame onscreen is not fuzzy, there must be a way to capt= ure that > as it is ?? Again, the pix look smooth when playing because the 1/50-second offse= t between moving fields combined with the motion "hides" the interlace (actuall= y the difference between fields is the result of motion capture using inter= laced, of course). The pix look smooth when single-framing through because the = DV500 is dropping one field (again, an assumption based on your description), = so that things will always look good on screen and Pinnacle tech support won'= t get flooded with calls about "how come my pix are all torn and comby when= I look at 'em frame-by-frame?" But when you export, you get the entire frame= , mot just a field, and you'll need to perform deinterlacing to clean it up= . > Is there a technique or product (Snappy-Dazzle ? ) which will do th= is job > better ? On the Pinnacle FlashFile digital still store (a ,000 box based on= DOS 6.22) we had an excellent adaptive deinterlace filter which did a ban= g-up job on luminance deinterlacing (sadly it did nothing for chroma, leaving = odd color ghosting on deinterlaced stills). I'm not sure what else you can get off-the-shelf -- I'm not sure how far that filter propagated into Pin= nacle's Windows products. You could always write one yourself in Premiere's f= ilter factory. > Something about over-sampling for higher resolution? -=F8r is that = just for > dedicated (and ridiculously overpriced) digital still cameras? Oversampling won't help for deinterlacing. And anyway, Snappy only re= ally works well in its "oversampling" with noisy, unstable-timebase video = sources; with DV it won't really help. > (Yeah Cathy, Oy Oy O....) Didn't Skippy win anything? Or is kangaroo boxing not yet an Olympic = sport? Cheers, Adam "and what about kangaroo shipping once it's boxed?" Wilt best tapes for Sony TRV-900? - Adam Wilt Seems like i remember some discussion, but can't remember the outcome. > What are the best tapes for me to use with the trv-900? Should i > always use the same tape? The general consensus seems to be: 1) use ONLY one tape brand/type, for ever and ever and ever, or... 2) ...clean heads every time you change tape brands, or... 3)...if you frequently change tapes, you won't get enough of a buildup of any one tape lube type sufficient to cause problems. See http://www.adamwilt.com/Tidbits.html#DVgunking for details. Cheers, Adam Wilt DV-L Archives (finally) on the - Adam Wilt Note 3: Because all list traffic is now _out in the open_ and for > everybody in this world to see, we count even more on the good manners > and professional attitudes of our genteel members. And note that our email adresses are obscured, so they won't be available to spammers. Well done, Bertel & Alexei! Well done, eGroups! Cheers, Adam Wilt Gyro Stabilisers? - "Perry" All this talk of car mounts and steadigizmos got me to try something I've been meaning to do for a while. I'm testing some DV 'palmcorders' and I thought it would be neat to mount each on my car dashboard and see how the steadishot coped. These all use the electronic version. I started with the Sony PC110 because it had to go back today. What astonishes me is that it APPEARS to stabilise the picture to the ground. In other words, despite the fact that the driver and the car are the biggest part of the shot, it stabilises the picture to what is outside. That would imply that it has some form of gyro system. Is this possible? I know you can get a semiconductor gyro but I've never understood how it could work, and it smacks too much of Quantum Physics for me to try too hard! I had always assumed before that the steady system was simply removing the short term wobbles by referring to the shot itself. I have another 4 to test so maybe I'll discover it is all a lot simpler than it seems. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ Importing music off of an Enhanhed CD into FCP - Perry Mitchell Carl Knittle posted: >I have been unable to read music from a Sarah McLachlan CD (the CD's called "Surfacing" (c)1997 Arista Records) into Final Cut Pro. It says it's an "Enhanced CD;" my Macintosh seems to think it's a regular data CD, and, though it can apparently find all of the "extras" such as a few brief video clips, and samples of songs (not those listed as the official songs on the CD), a song catalog, links to Sarah's web site, etc., my Mac apparently cannot even recognize the files for the official songs on the CD.< The Mac OS has a hierarchical (sic?) system with regard to CDs. If it cannot find any Mac files on a CD, it then starts assuming it is a different format. The problem is that if there is a mixed format CD then it only 'sees' the top level in it's hierarchy. It is a similar problem with mixed PC/Mac CDROMs where you only see the Mac files, whereas a pure PC CDROM shows up fine(assuming of course you've got the correct extensions). You need to get the Mac OS to ignore the 'higher' levels (I suspect an Audio CD is bottom of the list) but I am not aware of how to do that. I am sure that there are suitable gizmos out there somewhere? Macrovision - "Perry" Vidiot posted: >20 points to the first person that can name the movie that was released that was the first tape to contain Macrovision.< 'Cotton Club' Perry Mitchell Video Facilities http://www.perrybits.co.uk/ New camera stabilizer that's o - Adam Wilt Can you provide a demo tape shot with and without stabilization turned on > an XL-1? I use the 3X and 14X manual lens for almost all footage (and I > do get sore with my Steaditracker).... Also, how about moving Steadicam > style shots? How smooth? I used the MARzPAK a bit at DVExpo (yes, before consuming any alcoholic beverages!) with an XL-1 hanging from it. I did some walking-type shots, and it seemed pretty smooth. However the stabilizer was on, so things were automatically smoother. A lot will depend on how smoothly you walk and how lightly and controllably you grasp the camera. As the essence of the MARzPAK is suspending the camera through its C.G., torques applied to it elsewhere (i.e., on the handgrip) will cause perturbations in the image -- as is also true with Steadicam and SteadyTracker and so on. As with all decent stabilizing camera supports, MARzPAK makes it a lot easier to get good, steady "handheld" shots, but it still requires a bit of skill or technique. Having said that I will say that it worked better than I would have expected just from looking at it. While a balanced-moments approach like Steadicam is theoretically capable of smoother shots, the bungee-cam MARzPAK is a lot easier to use, and is certainly more comfortable for long-duration "handheld" shots. A Steadicam is likely to give smoother shots when operated by a practiced, experienced operator, but the MARzPAK will probably work better for the inexperienced or casual user. I should mention that I've been using a Steadicam JR for about 8 or 9 years. When I've been away from it for a month or two, I find I need few hours of practice to recover my "groove," after which I can get some pretty good moves. With MARzPAK I was able to get acceptable moves from the moment I had it on; I don't know if with practice my MARzPAK shots would approach, equal, or exceed my practiced Steadicam work. Two possible concerns: If you stand still for very long wearing the MARzPAK in a hotel lobby, restaurant, or bar, hurried patrons may attempt to hang their coats and hats on you. If used in San Francisco, a well-meaning but myopic tram or electric bus motorman may mistake the MARzPAK for a tramcar's overhead powerline pickoff arm. In the middle of a take on public streets, don't be surprised if a meaty hand suddenly grabs the bungee and hauls you over to a powerline, and then helpfully re-establishes your connection to it. Cheers, Adam Wilt (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
 slashCAM  News HD Camcorder database One-on-One Cam comparison About our tests About us |
|
|
