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HD-Bänder?? (Für Postproduktion)

HD tapes? (;) For post-production



Frage von Blackeagle123:
Juli 2009

Hello,

in our current production will be worked on in the postpro with HD tapes. Since I have heard nothing, I wanted to ask you, if only Sony produced this and the format in which there will be accurately recorded.
It was actually and explicitly talk of HD bands (; not size between about DigiBeta and DVCpro) and of HDCAM.

I assume that there is no HD V is recorded.

Best regards,


Constantin



Antwort von robbie:

Could this perhaps the large (, H) be DV tapes?
They're Ganau between DVCpro And Beta



Antwort von Valentino:

So it sounds very much like DVCPro HD tapes that exist in three different sizes:

http://www.geniusdv.com/weblog/archives/DVCPro-HD_fam.jpg

Otherwise it with an HDV camera Maz and the shoulder of Sonysynonymous is possible to play on the large DV cassettes.

Other HD formats like HDCAM SR or D5 HD, I think is rather unlikely, since you can count those decks here in Germany s.zwei hands ;-)





Antwort von Blackeagle123:

Hello,

just because I'm still young, that is indeed not that I work with decks that can be counted s.zwei hands ...

It is in fact the HDCam tapes with a maximum run length of 40 minutes. Sonysponsort us, however, because this technology is still relatively new. The HDCam tapes only occur in post-production for use, synonymous when new cameras can record on them. The shooting starts with the Red

Now I'm interested in anyway, what exactly is this format is recorded in the "HDCam" bands.

Best regards,


Constantin



Antwort von tommyb:

HDCAM tapes but should be as large as synonymous Digibeta and Betacam SP (; and IMX). On the basis of color, we can (to distinguish the bands; HDCAM black) =.

Maybe you can help even the Wikipedia article on the technology.
http://de.wikipedia.org/wiki/HDCAM



Antwort von Lutz Dieckmann:

Hi,

So HD tapes are available in different varieties. I use a JVC GY-HD110 JVC tapes just because they are not compatible with Sony tapes. But I've found HD tapes are better than normal. And they cost ¬ 8, - net. So no big deal. Have they used all of my tutorial shoot.

Regards

Lutz



Antwort von Blackeagle123:

Thanks for the Wikipedia link! ;-)

What exactly is the difference between HDV and HD? Compression?



Antwort von robbie:

HDCAM HDCAM SR is absolutely not.

Da gibts nen considerable difference!

Everything else in the links.


And what the difference between HDV and HD is?

HDV is a format. HD is a generic term. Those who work professionally, does not work with HDV, since this system is not 422-compliant.



Antwort von Lutz Dieckmann:

"robbie" wrote:
Those who work professionally, does not work with HDV, since this system is not 422-compliant.


Well, I'm probably not a professional ;-(;(; pity, I always thought it was so!

Incidentally, it is still capable of 422, at least camera side. You can tap 422 via HD-SDI, for example, from the EX1 / 3, GY-HD200/252 or HM700.

Regards

Lutz



Antwort von WoWu:

HDV is only now remains, and once a recording format that works in 4:2:0.
Since Robbie's comment was correct.

And whether that's really 4:2:2, what is to come out of the camera is not synonymous said, because already the scanning is done in double s.Sensor, so that always a 4 color values are combined from 2 lines to a Chromasample ... So not the interpolation of 4:2:2.
Although this is x: x: 2 Sample available, but it unfortunately did not differ from the x: 2: x value.
On cameras that offer an alternative to one synonymous HDV 4:2:2 format, it looks very differently.
The presence of SDI is fundamentally no indication that the camera has a synonymous 4:2:2 processing, for SDI 4:2:0 is not - capable.
Only that does not mean that true 4:2:2 on it should be.
In this sense one could say synonymous, there is 4:2:2 for every camera, (; from cameras with RGB stripe masks (; 3-chip, or even 4:4:4)) because each Farbsamplewert in the data set is, of course ... . However, in contrast puts the color accuracy and not in the sample quantity in the data stream.



Antwort von r.p.television:

"robbie" wrote:
Those who work professionally, does not work with HDV, since this system is not 422-compliant.


Well. Basically, a half-truth. This are too many Z7, XH A1 and the like in use by TV production houses. One can of course argue about how to earn TV productions are a measure of professionalism (; for me it's None), but nevertheless the people so that their money was for a certain kind of speaks professionalism.
I am using with my DSR-500 and an XH A1 synonymous only 4:2:0 material. Even if I have time keyen manages it quite well. I once tested my Keyen and the XL H1 HDV footage with ProRes422 over HD-SDI captured. Did you notice that only minimal differences WoWu's statement confirms what most of what arrives on the HD-SDI actually.
A successful keying is more a question of knowhow about the lighting. Regardless of keying is: For most of the final product ranges are now sent or land on a DVD Footage of HDV or DV (; Cam) completely off. More an image thing. They want to halt occur as professionally. Teams use the cameras with logos such as "Digital Betacam", "DVC Pro (; HD)" or "HD CAM" are simply respected in the scene sooner. Since we rarely question arises whether a 4:2:2 before shooting began scanning makes sense. More important are here and the size of the CCD and the flange-mounted optics are obviously better for cameras with 4:2:2 in general.
Will not deny that, of course 4:2:2 does not make sense. Clearly a product of higher chroma signal always better. But with today's digital production chain, it is not necessary as it used to shoot sparrows with cannons after a satisfying DVD production or a good masts for DVB-S to build here anyway since lost most of the speed and quality through lean Farbsampling goes.
If, of course, only keying templates rotates with the one alpha mask for compositing, etc. created equal 4:4:4 or 4:2:2, such as film, almost mandatory.

Basically I have to (but already asking about the meaning of a post-production of the RED footage; possible 4k) to HD (CAM; 1440x1080) is read. What is this supposed to be cumbersome for a workflow? Why not just import native RED Raw? Even if I got nothing so dear as MAZEN HD CAM or even HD CAM SR would be unnecessary to me Konvertiererei too stupid. But the anamorphic compression to the systemic ensteht at 1440x1080 HD CAM is stupid. I do not even assume that there is s.Start HD CAM SR. Since the MAZ it costs only five times as much as the RED drehfertig.
And HD CAM is not new. Since I do not understand the argument completely. HD CAM is in my opinion, rather again the way out. Just the resolution is no longer suitable for the high-end range. Is there indeed been synonymous since 1999. And even if the recording switch houses. Had this not simply as removable hard drives every time and play one-on MAZ? Very old fashioned. I Know that only broadcasters whose knowledge of the horizon on the output of its own MAZEN does not go.




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