Frage von elvis21:
Hey,
I have a question, what it actually used as a codec when you edit something? So more accurately, my scenario is that I have so much source material that I had it in pieces must be executed. Since I have between the Project Rendering (Sony Vegas) and delete the source material, and then rendered in the new project to hit the front. Because the entire yes then again (uu even more often) is encoded, it can much more quality is lost.
So I am looking for a kind of "Intermediate Codec", just not * the * Apple Intermediate Codec.
What you use / s.besten for her as a codec? MPEG is not good if I decide s.ende but the first 2 frames wegzuhauen, also comes after 2 MPEG encoding already visible artifacts ...
Danke schon mal in advance!
elvis21
Antwort von Marco:
Depends on with what Resolutiondu work, what system is available and which will ultimately still be rumkommen.
A good compromise solution for normal SD PAL Resolutionist of their own Vegas DV codec, which has tens of generations Render subjective loss can remain.
For HD resolutions in turn provides the Cineform Intermediate, which includes delivery to Vegas (and then in the Render dialogue among AVI codecs can be found).
For the highest demands and very powerful (and riiiieeesige) disk systems offer the two contained in Vegas, uncompressed format (ie either uncompressed uncompressed RGB or YUV). With regard to the necessary system especially if HD perhaps rather what masochists ... ;)
Marco
Antwort von Trridy:
Of what material are you speaking (sd / HDV ...)
and why not ne external disk?
gruß cj
Antwort von WoWu:
... @ Elvis21
why are you looking at an intermediate codec ...? If you can handle him, that would be the best for your product.
In the so-called codecs uncompress make sure you do not! in 10bit überführst ... so you act the most beautiful artifacts On. Unless your source material is HDCAMSR or D5 .. but I do not think so really.
Ergo: 1) as no other codec ...
2) If another, then no color change and certainly not to RGB!
Antwort von elvis21:
S.alle Thanks for the replies!
Yes, I forgot that I work with SD. I probably use an external hard drive, at the moment, unfortunately, are my reasons of budget effectively only about 250GB available, and I will probably 10 days on average 2-2.5 hours of film = 20-25 hours. Oh, and with the 2 cameras, so ca 50 hours of DV material is approximately 650 MB. And yes, I would s.liebsten all synonymous footage at once available, synonymous for small corrections to me if in the course of the review a bit conspicuous.
That is a whole school (students), and I am quite clear that such projects bran artifacts may occur and no one noticed the most, for me, but more in the foreground that I clean with the technique avoiding ... a kind of moral self, if you will.
As for the Vegas DV codec, which have often been used and am satisfied so that in principle, but
hier
Jetzt gerade beim Schreiben fällt mir ein, das Endprodukt wird ja um die 2 Stunden haben ... vielleicht soll ich einfach im Vorhinein die Footage "mähen", indem ich überhaupt nicht brauchbare Elemente entferne ...
Auf jeden Fall danke für die Tips, werde doch noch ein paar Testbild-Tests with dem DV -Codec machen (habe dieser Page hier
Jetzt gerade beim Schreiben fällt mir ein, das Endprodukt wird ja um die 2 Stunden haben ... vielleicht soll ich einfach im Vorhinein die Footage "mähen", indem ich überhaupt nicht brauchbare Elemente entferne ...
Auf jeden Fall danke für die Tips, werde doch noch ein paar Testbild-Tests with dem DV -Codec machen (habe dieser
Liebe Grüße
elvis21
Antwort von Axel:
It's probably about hard times again vs. cuts. (eg) color.
If the "float", ie in 32 bits instead of 8-bit rendering, the output format DV or HDV still hot (with 8 bits). The file size is exactly the same, but the rendering (eg After Effects) slowed significantly.
Of the two files shows the 8-bit version in a natural history (heaven)
immediately artifacts (possibly the view zoom in a bit), the same size gefloatete File (now of course synonymous 8 bits) is clean. This test can be used in After Effects in every few minutes understanding (project settings: Color: Depth, later in the rendering output to the normal codec specify). For me the answer.
Who cuts after tough new compression artifacts seen, I suggest you take the Red Cam with uncompressed 4k.
Antwort von thos-berlin:
If you're with SD and DV tapes with work, no conversion is necessary. The material is 1:1 s.der Firewire port and is delivered directly into a file is written, it is not better when Umkopieren title and for normal ranges of the DV codec.
Sort before capturing your material and take only what you can probably use. (Or do you want pictures with the lens cover closed, ground shots while running because vergesserner / pause button accidentally operated synonymous capturing, etc.)
Then rich synonymous 250 GB (or some 20 hours) on your plate capture - still nearly half of your shots!
When rendering the file, any decent editing program just to render the transitions, but not unmodified Clipteile (advantage of the typical single-DV compression to MPEG). Thus, the risk of not Quallitätsverlusten mE.
Antwort von WoWu:
@ Axel
... I do not think that it somehow goes to the cut but that RGM is a linear color space with 255 QS is YCbCr but has only 220 Qs: Result: Error Diffusion (dithering).
And if you go into 10 bit, you will have no perceived gain in quality by your S / N distance covered .... quite apart from the fact that your D / A Converter 10bit is synonymous needed. But even if the conversion is extremely dependent on timing. Results: Banding.
I do not quite understand what you as with After Effects will do. Quite apart from the time that the course is another step in the workflow is ... But as I said, I have not yet fully understood.
But if I understand correctly that the image to zoom in certain amounts in order to Artefact to correct, then it is obviously something s.der body adventurous.
But, as I said ....
Antwort von elvis21:
Okay, I got the whole again and thought about, and if I am frugal, I actually come to work with pure trim the DV files are clear.
Thanks for all helpful answers!
Antwort von Axel:
I do not quite understand what you as with After Effects will do. Quite apart from the time that the course is another step in the workflow is ... But as I said, I have not yet fully understood.
But if I understand correctly that the image to zoom in certain amounts in order to Artefact to correct, then it is obviously something s.der body adventurous.
But, as I said .... I'm far from being the problem down to the last to be able to explain. But if the title mentioned in the thread "Processing Steps" s.irgendeiner agency for a recalculation of the material required, probably takes up this thread:
http://forum.slashcam.de/in-den-tiefen-der-farben-vt51412.html
The difference of "native" worked 8-bit and 8 bit via floating, as described, each with his original material for free. For graphic material that is generated within AAE and is rendered as animated gradients, or with the same compositions, there is no difference, it must therefore be imported footage. Alternatively you can use a synonymous graphics animation as ausgerenderte footage re-import and apply an effect. It revolves around the gradual deviation from the original in every processing step.
I assume that in the case of the export of DV clips in the same codec negligible or no loss of quality with raises.
In the
first recalculation applied with an effect in 8-bit was. Maybe you recognize the error, unless the (completed ausgerenderte) Clip is not eingezoomt. With magnification (eg 200%) was. And in the second and third generation with the naked eye.
Unless, as described above, we imported
the original material (even the capture of the software produced HDV or DV clip) and can float ... - Then you do not Intermediate Codec, and synonymous not worry about space. There is no additional processing step, only one even made the default. However, it is limited to programs that can be synonymous. The bush of Oliver in the above-linked thread mentioned ability of Final Cut Pro, to float, is with the of AAE can not be compared. That seems to work only if the graphics card to work in 10 bit uncompressed or ProRes 422 to render both 4:2:2 codecs. That there are errors, as WoWu says, I can already imagine.
Corrections welcome.
Antwort von WoWu:
Hello Axel ...
I must admit, I have a semantic problem with the term "floating" because I was not exactly the function can categorize. Maybe I know it only under a different name. (But I'm not the big synonymous AAE Specialist-functional yes, but probably not as deep in the approach it like you).
As an explanation would help me. I have the indicated Threat synonymous read, but finds that it is a pure graphic statement that the isolation of video is to be.
But we must urgently make a distinction between graphic edits and to what remains of it, if the applications the "video" look.
This is quite often the fallacy that wonderful things in 24 or 36 bits are made and then the big disappointment when the product lands on the video. That is such an article in the graphics are excellent explanations, but unfortunately contributes nothing to the video. And here is precisely targeted restrictions, synonymous with respect to the intermediate codec and the transitions between color spaces. My experience is that each transition (now on video-based) between the quantization always associated with artefacts. And even if you super gradients in 24 or 32 bits produces when they are on the 8-bit 4:2:0 Sendeweg land, which is not much left.
Synonymous and I think that we probably think the same without me now to the last detail your execution understood (my fault). Only when I see today that the companies' multi-format timelines "as the panacea to offer, I can only shake your head with me and wish that the user is not synonymous with an intelligence level of premature stop to think.
