DVL-Digest 661 - Postings: Index DV500 NTSC FCP and broadcast output: legal black How to create "snow" on DV? Re transfer 50mbps-DV (SDTI) Tape brands/mosaics/drop-out Thanks Adam Wilt-Questions transfer 50mbps-DV (SDTI) - (2) - (3) what should i charge for a pro Wilt's DV codec comparison XL-1 vs. VX-2000 not! DV500 NTSC - Adam Wilt > Premiere that the timecode is NDF. I was wondering if the Pinnacle > had the same problem in NTSC where it matters. From this I infer you're working in PAL? PAL is always NDF; there is no drop frame in PAL. It does make it hard to test the DF/NDF settings whern there ain't none... ;-) Cheers, Adam Wilt FCP and broadcast output: legal black - Adam Wilt > Does FCP have a setting that allows us to output in broadcast legal > black (7.5 IRE) automatically even though some of the elements in the > video has illegal black? If you mean the usual 0 IRE blacks you get out of a DV camcorder, that's a function of the analog setup -- playing the same tape out of a high-end DVCAM or DVCPRO deck will give you 7.5 IRE setup. You can always "add setup" in rendering, but then you have a nonstandard black level in the digital data (around Y=32 instead of Y=16). > Like in Digisuite, everything outputted can be automatically adjusted > to legal. Using FireWire, FCP has no "legalize" function for black (you can "legalize" white by setting the rendering option to "white" instead of "super-white"). I don't know what the options are with the Digital Voodoo, Targa 2000, CineWave, or the like -- as with DigiSuite, real time legalization (and adding of setup) is best left to the transcodong hardware. How to create "snow" on DV? - Adam Wilt Is there any way to create this in Premiere, which is what I'm using to > edit? Yes; I've done this. Using the Filter Factory (or whatever it's called; been awhile since I did this), define a filter that sets the G value to a random number for each pixel, R=G, and B=G. This'll give you monochrome snow; use separate random number values for RG&B if you want colored snow. Or get fancy: add a gain slider and a base-level gray setting. All in all, shouldn'd take too long. Cheers, Adam Wilt Re transfer 50mbps-DV (SDTI) - Adam Wilt Does someone know how to transfer 50mbps DV signal into a PC. I know > that firewire is the 25mbps version. What I have so far is a SDI input. If you want to transfer the compressed DV50 signal, the only way most manufacturers currently support it is over SDTI using a studio deck with 2x output. Matrox makes an SDTI card for the DigiSuite line, for example. It's unfortunate that one has to go to all that expense. FireWire/1394 is perfectly capable of handling DV50 (as well as uncompressed and even HDCAM), but so far no one other than Omneon Video Networks (disclaimer: day job) is using 1394 in this way. Cheers, Adam Wilt Tape brands/mosaics/drop-out - "Perry" staale sandberg >i've heard a rumour circulating here in norway that the sony tapes have a special coating added on in the finish, making it a "wet" tape, whereas all other brands do not, making them "dry" tapes. the story goes that when interchanging sony tapes with other brands, some drop-out may happen as some of the sony coating is left on the heads and transferred when recording on another tape brand.< The first thing to understand is that tape 'engineering' is mostly a mixture of economics and black magic, and VERY FEW people REALLY understand how it works or rather not works, given the wrong conditions! (that includes me) However, what you've heard is a travesty of the truth! All tape needs a lubricant to avoid unacceptable head wear, and this is particularly true of metal tapes. There are two forms: Metal Evaporated(ME) and Metal Particle(MP). All DV tape is ME, DVCPRO is MP. MP tape has natural 'pores' that can retain the lubricant, but ME tape is effectively solid metal and therefore naturally has the lubricant sitting on the surface where it is more likely to be scraped off. I think to call it wet or dry is to over simplify matters because we are talking about microscopic conditions here. Any residue left on the heads is not in itself a problem. In the early days of DV, the residues left by the Sony and Panasonic tapes (the only manufacturers then) reacted together and caused excessive drop-out. One or both of them then changed the formulation and the problem has supposedly gone away. It is still probably good practice to stick with one brand, and to clean the transport with a cleaning tape if you do change. There is all sorts of mumbo jumbo marketing spiel about tape. The recommended practice from the professionals is to find something that works for you and to stick with it. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ Thanks Adam Wilt-Questions - Adam Wilt First how is QT 4.1.2 incompatible with DVPlus 3.1? I don't know what DV Plus 3.1 is. I've only seen DV Plus (DV Toolkit Init) with version numbers up to 3.01. > I thought DV plus is incompatilbe with FCP 1.2.5. I had heard that it was 4.1.2 that broke DVTK 3.0, not FCP 1.2.5, but you might be right. I know that when I tested FCP 1.2.5/QT4.1.2 with DVTK 3.0, the renderings were srambled in amusing but not especially useful ways. > I've used the DVPlus codec with QT 4.1.2 with FCP 1.2, Commotion 3 > and After Effects 4.1, although not extensively.... What version and what modification date does your copy of DV Toolkit Init show when you do a Get Info on it? > Also you mentioned compressing non-filtered text with a DV codec will > look bad. What do you mean by non-filtered and can you give me some > examples of filtered text? Do you mean something like applying a slight > blur fiter to the text? Yes, a bit of a blur helps. See http://www.adamwilt.com/Tidbits.html#codec for more details. Cheers, Adam Wilt transfer 50mbps-DV (SDTI) - "Perry" Jens Michaelsen posted: >Think I would need to desribe my idea a little bit more. So far we build M-JPEG based HD recording systems. This machines have analog and SDI interfaces, so far all data has to go through a the codec. With a redesigned board it is possible to route the raw incomming SDI data to harddisk. This brings the possibilty to transport any data via SDI/SDTI. For example comming from a D-9, DVCPRO, < SDI was initially developed by Sony (primarily a chip set) to allow simplification of system wiring. Previously digital data was carried by parallel interfaces which were difficult to switch and subject to timing errors on long runs. SDI uses industry standard video cables (subject to certain restrictions) that can carry the 270Mb/s signal over 100+m lengths without problems. SDI also allows use of switchers and routers that would have been uneconomic with parallel interfaces. SDTI uses the same idea (digital multiplexing) to carry the compressed video data of the various digital formats that allow this, which is to say all but Digital Betacam. They used to have their own names, but a conference last year united them all under the SDTI (previously Panasonic) name. AFAIK there is no advantage to using SDI/SDTI protocol other than to transport the data between machines. I'm therefore struggling a bit to see what Jens is trying to achieve? Perry Mitchell Video Facilities http://www.perrybits.co.uk/ transfer 50mbps-DV (SDTI) - "Perry" Jens posted: >My idea is to go around the the decoder and encoder pair and lay down the compressed data directly, like done using firewire.< Jens: that is exactly what SDTI does! The SDTI output of say a DVCPRO machine has the compressed video data, and the same with DVCAM, D9 and BetacamSX. The SDI output is converted back to uncompressed video ('601) and it is common to have both SDTI and SDI available on a machine to give you the choice. You can only use the SDTI when transferring between similar machines of course (ie same codec) but in this regard DVCPRO50 and D9 (DigitalS) are the same. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ transfer 50mbps-DV (SDTI) - "Perry" Further to what Dave Haynie said re Tom's curious post: 25Mb/s is EXACTLY 3.125MB/s. As I previously explained for DV, 25Mb/s is only the video content, so the difference between 3.125MB/s and approx 3.7MB/s is the audio and other data. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ what should i charge for a pro - "Perry" Depends 100% on whether this is a competitive scenario! If it is not, I would recommend asking him to suggest a budget he is comfortable with, and then suggest to him what he would get for that. If it is tight, make sure he realises up front that maybe he has to leave something out. Allow for contingencies and obviously make sure you cover your costs and expenses, pay for your time, and hopefully make a reasonable profit! Perry Mitchell Video Facilities http://www.perrybits.co.uk/ Wilt's DV codec comparison - Adam Wilt Is QT5 compatible with DV Plus files? Can DV Plus rendered files be > played back correctly under QT 5? Thanx. -Al Yes, QT 5 files play back using DV Plus and vice versa. No compatibility problems as far as that goes. Cheers, Adam Wilt XL-1 vs. VX-2000 not! - Adam Wilt Doesn't VX2k have an adjustable shutter speed like VX1k? Yes. > My VX1k can be set to 30 or lower which looks similar to frame mode. > Isn't this similar to XL-1's frame mode? Please correct me if I'm wrong. The VX1k and VX2k line-double a 1/30 sec field image in 1/30 mode, whereas the XL1 produces a 1/60 sec "vertical pixel shifted" full frame 30 times a second. The Sonys thus show a marked loss of vertical resolution and more motion blur than the XL1 does in Frame Movie Mode. 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 |
|
|
