Newsmeldung von slashCAM:HDV workflow for low-budget film part 1 of rudi - 26 Sep 2006 08:14:00 > In this article series, we want to give you some suggestions synonymous (presented to stimulate discussion), how to get the most out of HDV for film production. In the first part of the series is about an idea, the interlaced format 1080i25 wrest a positive Page, by interpreting it as 540p50.
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Antwort von Balrock:
Servus!
As siehts it with Final Cut Pro?
I'm sitting at home, unfortunately, not grad s.Calculator, but as far as I know, I can enter free Final Cut Pro, the resolution, the Halbbildverhalten, frame rate and the pixel aspect ratio.
MfG
Balrock
Antwort von Uwe:
> Even> the setting of the corresponding pixel aspect ratio is not as successful in Premiere. <<
Maybe I've misunderstood what type, but in APP 2.0 can be pixel aspect ratios of free desktop with 50 fps ...
Antwort von HaPe:
Moin is the theme s.sich yes really exciting, but I see a practical application of this method is not yet - would be missing because of this format suitable playback equipment. Much more interesting I found a guide how to get from an HDV film a "progressive" SD can make films. I have an HDV clip repeatedly tried to walk later in SD (50% of the HDV resolution) - and the quality was real * wow * - a thousand times sharper than the change in the camera. Only the movements looked odd.
Well - let's wait s.was the HD future may bring it. And I'd be very happy here will soon find a suitable tutorial ;-)
Servus
Antwort von wolfgang:
1.Man the 1080i50 into chippings something I would call in the sequence like 540p50, ie 1440 x 540 pixels x 50 frames.
2. In a next step, one expects high each field with bicubic interpolation (or even with better algorithms) to 1080 lines and stores them in a high quality intermediate codec with 1080p50.
3.Nun to cut his film with full 1080p50.
4.Zum conclusion one can still decide whether the film herunterrechnet at 24/25 FPS.
The idea is indeed quite correct times, we were already being considered synonymous often. But I think the approach wrong. It actually has no sense to produce a heavy material to be removed - and that then cut. And for that consume several Render generations. If anything, I would make the cut in HDV2. And hochinterpolieren only at the final output from the timeline to 1080 50p on output.
Me is synonymous unclear, why do you expect of them, if you only make 50p - and then scaled down to 24/25 fps. Yet the effect of a professional wing panel in true movie probably not very accessible. And if the Umrendern of 50p to 25 fps again only every other frame is discarded - then there was the exercise is for naught? So if you go this route, then the material should probably be played in the port as 1080 50p - which opens up the question of the players and playing capability. No idea whether or not to the Blue-ray or HD DVD, or say what jetztige network players like the SC200 to do so.
The upscaling of 50i to 50p is, to my knowledge, both in Vegas as synonymous in Edius.
Where I want to test with Vegas 7 times - namely, whether the preview capabilities of 50p material to break really, if the project settings correctly synonymous surrounded. I've tested so far only for PD1 50p material - it makes the project settings there correctly, you have very good preview features (but stop at 576 50p).
Antwort von rudi:
@ Balrock: Final Cut Pro, I have not tried it yet because I just do not have Mac tangible.
@ UWE: No. I will not believe. Although you can adjust with 1440 x 540 pixels 50p, but then look at the format of times in the preview. That is (of course) totally distorted. Thus it is true that you must enter the pixel aspect ratio of approximately 0.675, but, due to the presets is not. (Because where in your screenshot 1.333) is I just check to see if we could not directly enter in the settings file, but so far I am from Adobe's XML Pseucdocode not yet become smart.
@ wolfgang: I'm glad that their views rumprobiert synonymous. As I said, the pixel-Seitenverhältnisch at 540p50 would be about 0.675 and that you can enter it directly in Vegas. I s.diesem Calculator here but only Vegas 4, so I do not for a few days of further testing. Keep us stop to date.
540p50 IMHO even make sense because we already barely fazt, but rather beams. And just Projector movies can be generally synonymous 50p.
Many greetings
Rudi
HP @ guest: Yes, perhaps synonymous times.
Antwort von wolfgang:
540p50 IMHO even make sense because we already barely fazt, but rather beams. And just Projector movies can be generally synonymous 50p.
Beamer irgenwann that can be 50p - I like to think so. In the vision equipment because quite frankly I'm less worried synonymous - the players will still take some time before because what is coming. The newly announced Xoro HSD 8500 is about to play definitely only interlaced, but not progressive - just as an example.
1.Man the 1080i50 into chippings something I would call in the sequence like 540p50, ie 1440 x 540 pixels x 50 frames.
2. In a next step, one expects high each field with bicubic interpolation (or even with better algorithms) to 1080 lines and stores them in a high quality intermediate codec with 1080p50.
3.Nun to cut his film with full 1080p50.
4.Zum conclusion one can still decide whether the film herunterrechnet at 24/25 FPS.
Hmm, you've changed the last sentence? I have not remembered it ....
But the key question remains for me still the workflow of the first 3 steps. Why go only to 540 50p, and then cut? Why not cut until 1080 50i, and then output to 540 50p? The second way is from the perspective of our editing programs much easier.
Antwort von TheBubble:
Why go only to 540 50p, and then cut? Why not cut until 1080 50i, and then output to 540 50p? The second way is from the perspective of our editing programs much easier. The 2nd Way is synonymous IMO workable because a deinterlacing / interpolation can be performed later synonymous and the amount of data is not immediately unnecessarily increases.
A process of shooting 50i in a 50fps mode with no fields IMO would be useful if the images with real 50p recording / images should be combined.
The interlaced format 1080i25 wrest a positive Page, by interpreting it as 540p50
Unfortunately, it can be a 50i frame not just as two consecutive, but otherwise geichwertige, 50p frames with half the vertical Resolutionauffassen, because the two fields are (in addition to the time difference in the recording) vertically by half a line to one another. A high-quality conversion will therefore have to deal with this situation.
Antwort von wolfgang:
These are additional issues that play a role, of course, synonymous.
Being seen in today's disk sizes, the size might not be so critical.
I also verarbeite currently 50p material with 50i material. But here I am going synonymous in the 1080 50i project setting. I mean, basically you would have the option of one of the materials in the other to convert in advance. But then again, this material is a rendering generation older, and that I will just avoid m2t files.
So I prefer to mix the material in the timeline, and final rendere it completely out of 50i - which makes no problems, but apart of a weakened ability to preview when 576 50p equipment mixes HDV2 a PD1 with a FX1.
At the time offset of the two fields you are right of course. Here it would be important to know how the internal calculation happens in the NLE. When used in this proposed conversion to 50p times each of the two fields in 1 / 50 s interval, it would be do not even stupid. The question is only halt if the NLEs here are so intelligent, treat the material like this.
Few have users with such transformations so synonymous played - and especially good beieinflußbar is obviously with tools like AviSynth. We had some times in the scripts of Videotreffunkt Troll Patsch, who have done sowas - Link no guarantee, I've never even been tested:
http://www.videotreffpunkt.com/thread.php?postid=24760 # post24760
Antwort von Martin:
A full image of HDV1 has 1280 x 720 pixels = 921,600 pixels
A Field Of HDV2 has 1440 x 540 pixels = 777,600 pixels
On paper, the image resolution of one full-HDV1 is thus only about 18 percent larger than the image resolution of a HDV2-half frame. Without taking into account data rates and compression methods aside, 1080i25 If a camera could be considered synonymous with this in mind as a full screen Camera with 1440 x 540 pixel, but with 50p!
But the fact is simply that HDV1 delivers more picture information per second than HDV2. As always be synonymous converts, scaled, or interpolated - if you want to have the same output format is HDV2 more "artificial", that is calculated rather than recorded, containing imagery.
It would also be much easier for two full frames in between a time-frame properly calculated as two interlaced fields at a reasonable Vollframe together. Nevertheless, it has in the temporal interpolation of two frames before and after each of the interpolated picture is a "real" picture ...
Greeting
Martin
Antwort von wolfgang:
If one may employ such number games already - then once observed the following: HDV1 generated with 1280x720x25 = 23.0 million pixels per second, while HDV2 with 1440x1080x25 = generated 38.9 million pixels per second. That's almost 70% more pixels, in the case of HDV2.
The data rate is, however, with 25 gebenüber 18.3 Mb / s higher only by 37%, in the case of HDV2. Based on the number of pixels providing a higher data rate than HDV1 / pixel - really more image information per unit time. And in addition here is progressively scanned, which is synonymous to the compression in the case of HDV2 benefit.
So if true 720 50p will be possible, then this will be a blessing - because you can combine improved data rates and better compression options with the same motion resolution of 1080 50i.
The vision, 1440x540 display as 50p - now we all know that it was very artificial, and has been used for comparative purposes only. The material has indeed synonymous a line offset.
Antwort von Doc Brown:
But 50p cameras are currently unaffordable. are affordable to 1080p50 cameras on the market. This is relatively, but I fall spontaneously to the four cameras of JVC GY-HD 200/201 and the studio version GY-HD 250/251 book.
Antwort von Andreas K:
Why do not agree to 720p in?
I have a few demo clips of the Consumer HV10 with AviSynth and MVBob deinterlaced and then sharpened using LimitedSharpenFaster and resized to 1280x720. The whole thing can be exported as 720p50 with the Cineform codec and editing AspectHD synonymous perfectly fluent in Adobe Premiere.
