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DVL-Digest 852 - Postings:
Index


> ISO equivalent of videocamera (I know, it gets boring)
Fast Purple
FAST purple.
FCP expansion plan - (2) - (3)
ISO equivalent of videocamera (I know, it gets boring) - (2) - (3)
RAID + partitions
What if....


> ISO equivalent of videocamera (I know, it gets boring) - Adam Wilt


Could anyone point me to the procedure of measuring the ISO-equivalent of
> your videocamera.
1) Lock the "auto gain" setting else the ISO rating will change on a
scene-by-scene basis and you'll never suss it out! Also make use that
auto-shutter is off (or that you can verify the shutter setting at the time of
measurement).
2) Using an 18% neutral gray card, take light readings in a variety of
settings with the camera and with the light meter (shoot the card with the
camera and with a reflected-light meter; with an incident-light meter take the
meter reading from the card's position aiming back at the camera). Working
backwards from the shutter and aperture settings on the camera, determine the
ISO setting on the meter to give the same settings (exposure index). Average
the results.
3) You may find different sensitivities in incandescent (2700 - 3400K) light
vs. daylight or fluourescent (5500 - 9500K), even on cameras without filter
wheels. Also be aware of whether or not you have the ND filter in place when
measuring.
Cheers,
AJW



Fast Purple - Adam Wilt


Any other users of Fast Purple out there?
Yes.
> Are you also keeping quiet about just how good this system is?
Not really. I've written 'em up in a magazine article for the excellent
background rendering.
purple. (yes, that's how they spell it) is very powerful and quite quick, once
you've internalized the somewhat idiosyncratic interface. As I only use it
sporadically I face a steep re-learning curve as I try to remember what the
hieroglyphics mean. The icon design is fairly good overall but the slowness
with which tooltips appear and the complete lack of textual menus means that
until one memorizes the iconography and the workflow one is condemned to a
hunt-hesitate-click operational style that impedes progress.
However once I've been bashing on it for a couple of hours I've internalized
enough of the piccys and I can really fly along. At that point the biggest
hassle is the constant need to change window layouts; on a dual-monitor system
FASTstudio is superb but on a single-monitor system one can only ever see two
of the three most important windows (timeline, monitors, and racks [i.e., bins
or browser windows]) at one time.
Were I using it full-time and with a dual-monitor setup, I think I'd find that
there's nothing in the NLE to slow me down.
But it truly requires full-immersion usage to get the most from it due to the
non-obvious nature of its UI. The learning curve is steep and FASTstudio could
benefit from a tutorial section in the otherwise excellent manuals. In this
aspect I'd compare it to After Effects: if you're new to it (or even just
haven't used it for a while) you'll be completely at sea, but once you've
sussed enough of how it works, the speed and power of the system really take
off.
Cheers,
AJW



FAST purple. - Adam Wilt


(Brad Swenson, product manager at FAST, had his purple post rejected by the
DV-L listbot for reasons unknown, and I now relay it for him. -AJW)
_________________________
Hello,
While i certainly respect Adam's opinion, i must also respectfully disagree
that our FASTstudio software is hard to learn. I believe that this is
completely based on a users background. Before joining FAST, i have spent time
on a wide range of linear and nonlinear systems, each with there quarks and
differences in workflow. However, with such a varied background i was able to
learn FASTstudio in a day, and power use in 1 week.
In addition, there are a number of training options available for all users,
starting with our dealers, to training centers like FMC, to personal 1on1
training with freelance editors that have been trained by FAST, many by me.
I would invite you to consider dropping by the FAST user group at
http://fast.bcastvideo.com you can 'Lurk' as a guest, or register, either way
you will find a large group of diverse users of purple and silver. I am
certain that they will echo what i have said.
Beside any learning issues, you will find FASTstudio to be feature rich,
extremely stable, and offering unique technologies like Background processing
and InstantSave that are proprietary to FAST.
Additionally, you might be interested to know that at NAB this year we
announced 'FASTstudio.DV', the software only version of purple for only
usd and the 'Production Pack', bundled with FSD for only . FSD runs on
Windows2000, desktop or laptop, and will be available at resellers by the end
of the month.
If you have any more questions about purple or FASTstudio.DV please feel free
to email me.
(systems that i have been paid to edit on, CMX Omni, Covergance 194,
Convergance 90, Sony RM440, Sony BVE-9100, Avid Media Composser8000 & 1000,
Avid Newscutter, Speed Razor, Media100 v4, Adobe Premier, silver, purple.
just to give you an idea of my background)
Cut Hard
Brad J Swenson
...
FAST Multimedia AG
Brad J Swenson
Product Manager
http://www.fastmultimedia.com
brad_swenson@fastmultimedia.com
editing is FAST.
See you at
IBC 2001
14.-18. September 2001
RAI Centre Amsterdam
Hall 2, Stand 231



FCP expansion plan - "Perry"


So except for Aurora (thanks Kat) and Media100, is there no other video
board system for Macs that allows expansion up through component analog to
SGI? Would FCP automatically support any non DV systems. Does FCP support
RS-422 deck control?
What would be the Promax suggestion Charles?
Perry Mitchell
Video Consultant
http://www.perrybits.co.uk



FCP expansion plan - Adam Wilt


1)What options are there for a card to give immediate component analog
> interfacing with an SDI video capability later?
Check out the Aurora Igniter, Digital Voodoo D-1 cards (SDI only) and the
Pinnacle Cine Engine.
> 2)Does FCP2 have built in RS422 control? (obviously a serial port adapter
> would be needed)
Yes.
> 3)What digital audio options are available for the Mac? (S/PDIF and
> AES/EBU)
Some of the above-mentioned cards include igital audio and there are other
audio cards available though I'm not up to speed on all of them.
> 4)What options are realistically available for portable media storage?
> (particularly to Avid)
FireWire drives are the popular choice these days. For portability to Avid,
though, it's tougher; FCP 2.0 has OMF export for audio but aside from that and
QuickTime movies there isn't, as far as I know, a lot of interchange
capability between FCP and Avid.
There's a wealth of information at http://www.2-pop.com on all these topics if
you wish to immerse yourself in data!
Cheers,
Adam Wilt



FCP expansion plan - "Perry"


From: Adam Wilt [mailto:adamwilt@flash.net]
Sent: 10 May 2001 18:59
To: DV-L
Subject: Re: FCP expansion plan
> 1)What options are there for a card to give immediate component analog
> interfacing with an SDI video capability later?
Check out the Aurora Igniter, Digital Voodoo D-1 cards (SDI only) and the
Pinnacle Cine Engine.
> 2)Does FCP2 have built in RS422 control? (obviously a serial port adapter
> would be needed)
Yes.
> 3)What digital audio options are available for the Mac? (S/PDIF and
> AES/EBU)
Some of the above-mentioned cards include igital audio and there are other
audio cards available though I'm not up to speed on all of them.
> 4)What options are realistically available for portable media storage?
> (particularly to Avid)
FireWire drives are the popular choice these days. For portability to Avid,
though, it's tougher; FCP 2.0 has OMF export for audio but aside from that
and
QuickTime movies there isn't, as far as I know, a lot of interchange
capability between FCP and Avid.
There's a wealth of information at http://www.2-pop.com on all these topics
if
you wish to immerse yourself in data!
Cheers,
Adam Wilt



ISO equivalent of videocamera (I know, it gets boring) - "Perry"


Normally folks want this to be able to use an exposure meter, so assuming
you have one -
The video camera is also an accurate exposure 'meter' so simply calibrate
one with the other. Choose a nice evenly lit scene and set your video camera
to give good exposure. Read off the f-stop, and then adjust the ISO rating
on the meter till you get the same exposure reading.
If you have a spot meter, you can do this more accurately with the correct
gray card.
Perry Mitchell
Video Consultant
http://www.perrybits.co.uk



ISO equivalent of videocamera (I know, it gets boring) - "Perry"


Martin:
It is bound to be approximate because the two media have different dynamic
range capturing abilities. Negative film ISO rating is purely nominal with
modern stock, you have several stops of latitude. Video latitude is a
fraction of a stop at a given gain!
good luck
Perry



ISO equivalent of videocamera (I know, it gets boring) - "Perry"


Martin:
The point is if you take your test chart and expose it to negative film,
there is perhaps 5 stops of tolerance before there is any significant loss
of recorded dynamic range. It is only when you make a print (or telecine it)
that the exact exposure is 'decided'. If you like, you are delaying the
decision as to the ISO rating until you make the print. With video, you have
to make the decision when you shoot.
cheers
Perry



RAID + partitions - "Perry"


I'm far from an expert but I don't think you can do RAID with simple IDE
drives. If you buy an Initio SCSI card it comes with free RAID software.
It's been working well for me for over a year. SCSI drives are much cheaper
now, although still more expensive than IDE of course.
Perry Mitchell
Video Consultant
http://www.perrybits.co.uk



What if.... - Adam Wilt


I'm curious.
Panasonic has shown a variable-frame-rate HD camcorder, the AJ-HD27V. It
always records 60p (60 fps, progressive-scan) images to tape, but captures new
images at variable rates, doing 3:2 pulldown in camera for 24fps, for example.
What would be people's interest in having a similar camcorder in
standard-definition, using standard DV tapes? I'm thinking of something that
still records 60i or 50i (interlaced) images so as to be compatible with
existing SDTV equipment, but is capable any capture rate from, say, 1 fps to
30 fps (NTSC) or 25 fps (PAL). Many DV camcorders already have slow shutter
speeds, so the image buffering is there, but what they don't have is any
non-integral pull-down (like 3:2 to record 24fps imagery) and most do not have
true progressive-scan capture nor do they have true 16:9 CCDs.
If, like the 27V, the DV camcorder stored unique-frame data in the timecode
user bits (or in other bits of DV's auxiliary data areas), NLEs could extract
that information to perform (for example) true 24p editing, as the CineWave
system does with the 27V. And even without this, you'd have SDTV-compatible
imagery with the temporal look of film, and the ability to output to film with
no inverse-pulldown artifacts (as long as pulldown cadence was preserved -- a
topic for another discussion).
So my questions are these:
1) How interested would people be in a DV camera that offered variable-rate
progressive frame capture including a 24fps setting, performing in-camera
pulldown to record a normal 60i/50i video signal?
2) How important is a true 16:9 CCD in such a camera?
Cheers,
Adam Wilt




(diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-)


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