DVL-Digest 844 - Postings: Index 16:9 anamorphic cameras and UK TV color bars/NTSC monitor confusion 16:9 anamorphic cameras and UK TV - Perry Mitchell Doug posted: >First question: The XL1 does 16X9 by letterboxing the image. What DV cameras (prosumer or pro) support 16X9 without masking? Another way of asking: what cameras handle 16X9 more effectively, and can you explain why? Also, does the camera have a firewire port?< First answer: I prefer to call letterboxing 4:3, since it is designed to play on a 4:3 display. Letterboxing can be done effectively in post, and you can even cheat your framing up/down while you're at it! True 16:9 is electronic anamorphic. Others have explained this well, but just to add that the anamorphic done in all the consumer cameras is a cheat and can also be done better (for quality) in post. >Second question: I'm told that UK television owners most commonly view programs in 16X9 PAL. Does anyone know if that's true?< Second answer: A lot of UK terrestrial television is broadcast in a compromise (14:9) letterbox which is still 4:3 of course. A few of the satellite digital channels are broadcast in anamorphic 16:9. All of the commercials, all of BBC News, and much other production is PRODUCED in 16:9 anamorphic. It is then run through an ARC (Aspect Ratio Converter) as appropriate. >Third question: Here's some context for what I'm doing. When completed, the project will be shown both in the UK and North America. So, if 16X9 is so prevalent in the UK, I figure that, ideally, I should shoot 16X9 PAL and then transcode to 4X3 NTSC. Comments about this strategy?< Third answer: Many UK broadcasters will ONLY accept 16:9 anamorphic on anything that may have archive value. The standard delivery format is Digital Betacam, but you'd get away with shooting on a true widescreen DV camera like the Sony DSR-500 or the JVC GY-DV700. Transcoding to 4X3 will soften the image, but you've got a little in hand going from PAL to NTSC. good luck Perry Mitchell color bars/NTSC monitor confusion - "Perry" John Jackman posted: >As to your VGA monitors -- I don't think you should be discussing the same pic on those and trying to adjust to match the video monitor. Not something you should even try to do IMO!< Unfortunately some of us find ourselves needing to color balance graphics production in Photoshop or even Illustrator. It would be nice to have an EBU (SMPTE) phosphored monitor attached to every graphics workstation but in my shop it doesn't work out like that. My main graphics computer has a top end Sony (now obsolete) that I can get pretty near my Grade 1 video monitor (with EBU phosphors), but it gets nowhere near the industrial Sony that I usually edit to. This all came about because in the days when I did mostly corporate production, I was always having complaints about logo colors. Corporate communication managers are obsessed about logo colors, and corporations often have whole books written about how the logo has to look. They supply Illustrator (EPS) files and a Pantone reference, but in the end I just eyeball it on the video monitor. I use the industrial (Profeel) monitor because that matches what most board rooms are using! They are also obsessed with what color the CEO looks like; he/she has to look healthy but not like they've been on the beach or down the pub too long. Most times they have no time for make-up and once again I end up eye-balling it to suit. In Europe we don't use SMPTE bars to line up monitors, we don't have the PLUGE blocks and the other alignment gizmos on our bars. Of course we also don't have the problems of set-up confusion, so I guess we don't worry so much about it! Perry Mitchell Video Consultant 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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