DVL-Digest 918 - Postings: Index alternatives Get Final Cut Pro 2.0 for !!! Local Access Production (HELP) Pixellation problem Twitter (was XL1S picture and info on DV.com) alternatives - "Perry" >(1) FCP is a strong alternative to Premiere. What is a strong alternative to >Adobe After Effects (AE)? Think of AE as a (say) 50 point star of features. You can break off points and find other apps to cover some of these features, some other apps will maybe cover several features, but no single app comes close to covering all the features, and many of the features are unique to AE. Even those features that are covered are not necessarily done as well. Conversely there are AE features that are done better elsewhere, but usually by a dedicated application that may well be more expensive. FWIW Perry Mitchell Get Final Cut Pro 2.0 for !!! - "Perry" Evan Robinson posted: >Well, there is another issue. Adobe products, when sold as educational, are not supposed to be used for professional work -- that means anything that pays money. I imagine there's a similar clause in the Apple educational license. What that means is that if you use the educational version for for-profit work, Apple has a legitimate legal case against you for software piracy -- the unauthorized use of a licensed product. Whether they would push such a case is another question. Whether the "educational" version of FCP creates documents that are tagged some way as "educational" is another question -- it's certainly possible to do so.< Here in UK it is common practice for educational establishments to take on paying jobs as part of the 'learning experience' and many lecturers would also be encouraged to take on work to 'maintain contact with industry practices'. I guess it would be very difficult to decide where the 'Chinese walls' should actually exist. Perry Mitchell Local Access Production (HELP) - Adam Wilt I purchased a Canon GL-1 and did a 2 camera shoot with a Canon > XL-1(as well) of a local high school graduation. I replayed the mini-dv > tapes in my GL-1 onto S-VHS tapes (2) in order to edit them onto a final > S-VHS tape for broadcasting on our local cable channel.... > I proceeded to dup this S-VHS tape onto a T-160 VHS tape and then > assemble edit the remaining 17 minutes to finish the graduation. What a > SURPRISE!!! That final VHS tape quality (video) was a disgrace. I was > told that I was actually looking at a fourth (4th) generation tape. The > colors were bleeding (especially the reds) and ghosting and blurring > etc. > It appears to me that my GL-1 camera did not help me in making a > good quality video tape for viewing on Cable TV. Your results are exactly what I would expect: 3 generations of (S)VHS will do that. (The first, digital generation is by comparison "free"; if you had taken the Y/C output of the GL1 and recorded it directly to SVHS, thereby cutting out the first DV generation, your results would have been essentially identical. If it's any consolation, using a ,000 Digital Betacam rig in place of the GL1 wouldn't have made a substantial difference in the final outcome.) Having two generations of plain-vanilla VHS instead of the less lossy SVHS makes things substantially worse. I personally never went more than 2 generations on SVHS or Hi8 (plus the final release copy on VHS), and then only if I could be guaranteed Y/C connections at all stages (including the final VHS dub) and the use of time base correction throughout. Careful attention to color saturation is necessary to avoid the dreaded red bleed you've experienced, and the TBC I settled on, the I.DEN IVT-9PLUS, had both horizontal and vertical Y/C delay correction, so I could keep the colors roughly aligned with the underlying picture. Without this correction, chroma drops down a line with every generation and tends to float off to the right, really degrading the picture. You can get acceptable (if not elegant) results in 3rd generation color-under analog, but it requires fanatical attention to preserving whatever quality survives the inherently degrading process of low-band heterodyne recording. I found that if the first two generations were Hi8 I could make a tolerable VHS distribution copy. SVHS was more problematic; dropouts were lower, but color quality was markedly worse. The occasional VHS or 8mm source tape (camera master) could be used without too much damage, but using VHS or 8mm for the edit master, not SVHS or Hi8, created a bottleneck so small that most of the quality couldn't fit through it. Nowadays I wouldn't even consider this method of production. In linear work I'd edit to DV (through the Y/C delay correcting TBC if coming from a color-under analog tape like Hi8 or SVHS), stay on DV through production (using Y/C connections if necessary to go through effects processing), and only go back to analog for the release copies. But my preference these days, with hard drives so cheap, is to go nonlinear even for this sort of long-form work. Cheers, Adam Wilt Pixellation problem - Adam Wilt I work weekends in a tech support department at a university and we > have a number of pixellation problems, especially with some older > DVCPRO decks. Cassette cleaning hasn't worked - does anyone have > anything to suggest? Are these older decks upgraded with the latest EEPROMs? You might want to check that, especially if you're playing DVCAM tapes. Also make sure to select the tape format (DV, DVCAM, D-7) BEFORE inserting the tape into the machine. > And, someone just showed me a miniDV tape where the whole image was > blocky and pixellated, on two different machines. Could be a mistracking error while recording; an attempt to play back an LP tape (which won't play properly on most DVCPRO or DVCAM decks, and often won't play properly on DV decks); or a PAL tape played on an NTSC-only deck or vice versa. Cheers, Adam Wilt Twitter (was XL1S picture and info on DV.com) - Adam Wilt Is what you and Perry describing similar to overcranking the sharpness > setting in AE or similar program? Somewhat. Overdoing sharpness (especially with high-res images and/or an unsharp mask radius under a pixel) can lead to significant vertical detail spanning only a single scanline. > What I don't quite understand is why progressive recording > in of itself causes "twitter". 'Tain't the recording or the capture, it's the display technology. Proscanned material (or synthetic imagery such as CGI, even when interlaced) will twitter if not vertically filtered to avoid it. Twitter is the half-frame-rate flicker of information entirely present in one field and entirely absent on the other. In 525/59.94, the twitter rate is essentially 30 Hz. A single-pixel horizontal line is the canonical case: that horrible flicker occurring as it's displayed only on a single field is twitter. Most material designed for interlaced display (and this includes "proscan" film telecined for video) is vertically filtered such that there is essentially no vertical detail so fine that it only appears in a single scanline. In cameras this is normally done by a combination of optical low-pass filtering (OLPF) and dual-line CCD readout (and in olden days, int tubes, by controlling the size of the scanning electron beam). Proscan material recorded by a 1-chip Canon still has the dual-line readout and the OLPF. Frame Movie Mode from a Panasonic EZ1, AJ-D200 series, or Canaon GL1 or XL1 has the OLPF, dual-line readout, plus the vertical pixel shift -- effectively these cameras use "triple-line readout" in FMM! Cheers, Adam Wilt (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
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