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A DV(L)-FAQ [e]

DVL-Digest 545 - Postings:
Index


4:3 to 4:3; 14:9; 16:9
D9
FCP/Titles
help with DV to file
Multiple Timelines in Premiere


4:3 to 4:3; 14:9; 16:9 - Adam Wilt


> > "Your tests seem to clearly indicate that "fake 16:9" must never be
> > used, and that Adam Wilt's original advice about "crop it and expand in
> > post" was right on the money all along."
>
> I believe Adam's advice is the opposite -- that fake 16:9 is preferable
> to cropping 4:3 images in post because when shooting fake 16:9, the
> central 360 lines are spread out over entire 4:3 height before
> compression, which improves resolution. Adam, did I get this right?

It depends on your needs. If you *ever* expect to do a 4:3 full-frame release,
shoot 4:3 and crop in post. OTOH the fake 16:9 is easier for the codec to
handle *if* you only care about the 16:9 pic. As different cameras use
different interpolation methods and have codecs of differing performances, the
best bet is to try both ways and see what looks best for you.
See http://www.adamwilt.com/DV-FAQ-etc.html#widescreen, and follow the link to Ben Syverson's tests, for more info.


D9 - "Perry" nospam-perry.mitchell@btinterne


>Am in a similar place, so would like to join in with my own specific
questions: *how* is 4:2:2 superior to 4:1:1 -- that is, given similar
spec cameras, how is the improvement going to manifest in the
picture/image?
Using the vernacular, the colored elements of the image will be twice as
sharp. In NTSC this will happen in the horizontal direction. in PAL the
vertical.
The DV25 image is still sufficiently sharp that on a final NTSC or PAL
encoded camera picture the differences are often difficult to see. However,
ChromaKey uses the color resolution to enact the key information, so 4:2:2
will be much more important. That doesn't mean you cannot use 4:1:1 (or
4:2:0 PAL) for ChromaKey but 4:2:2 will work better in critical conditions.
D9 and D7 both use twice the data rate of DV25, but the simple 4:1:1 to
4:2:2 improvements only need a 33% gain in data rate. The rest of the data
rate gain is consumed by using less compression which is more difficult to
quantify. In simple terms they will be more transparent and will go more
generations without damage.
As we say in UK; you pays your money and you takes your choice!
Perry Mitchell
Video Facilities
http://www.perrybits.co.uk/



FCP/Titles - Adam Wilt nospam-adamwilt@flash.net


> I was wondering if someone could let me know what the downside of using
> Final Cut Pro Titles is?
Each title layer in FCP is limited to a single font (that is, a single
typeface, size, weight, and style), a single justification, a single tracking,
a single leading, and a single color. If you want to do something like have
credits where the person's title is in 24 pt italic yellow type and the name
is in 36 pt white roman with a soft drop, you have to build it as two separate
layers. While it can be done, it's far from WYSIWYG, and a bit tedious -- and
aligning the text on the two layers is by trial and error.
Also, I find the rasterizing of text in FCP to be poor, with no apparent
oversampling or subpixel rendering.
OTOH the title gen is a useful tool for templated text -- when you need a set
of text pages, like lower 3rds, that fall exactly in the same place on every
frame. Build a dummy page, dupe it, and change the text; unless you fiddle
with the origin control it'll always be in exactly the same place. That's the
one text thing that FCP does better than most!
> What is wrong with using Illustrator text, rasterizing it in Photoshop
> (or even making it entirely in Photoshop), and just bringing your
> gloriously touched-up text into your FCP project?
Nothing whatsoever. FCP and Photoshop go together very naturally; I wouldn't
be able to do nearly as much stuff in FCP if I didn't have Photoshop for
generating text and other compositing elements. PSD files import with each
layer on a different track, which makes animating objects individually simply
a matter of layer assignment in Photoshop. Illustrator files rasterized in
Photoshop work very well indeed.
Cheers,
Adam Wilt
a DV FAQ: http://www.adamwilt.com/DV.html



help with DV to file - Adam Wilt

> The basic "problem": I'm looking for some method for capturing Digital
> Video (from a Canon Digital Video Camera - movies to be taken underwater
> of zooplankton in case you are interested as a biologist in this) to
> disk so I can then run my own software and do frame-by-frame processing.
Most NLE programs offer capture to an AVI or MOV file, and also allow you to
export a clip as a series of still images, i.e. zoop001.bmp, zoop002.bmp, etc.
Since the simultaneous capture and decompression of DV is a stressful thing
for PCs and Macs, it's best to capture as a native file, then export the
stills sequence in this way.
On the PC, Premiere LE (which is given away with many DV capture cards) is
just fine for this. You might also look at MotoDV, and use QuickTime to export
the stills sequence. Other programs probably offer this and I'm sure the users
of such programs will chime in.
On the Mac, Download QuickTime Pro () and get a free copy of HackTV for
capturing with. HackTV is a bit of demoware from the QuickTime folks; it's
designed to show the basics of programming the QuickTime API but it's also
useful for a quick 'n' dirty capture/playback tool. Doubtless there are other
inexpensive tools as well.
Cheers,
Adam Wilt
a DV FAQ: http://
www.adamwilt.com/DV.html



Multiple Timelines in Premiere - Adam Wilt nospam-adamwilt@flash.net


> My Media 100 is busted and I miss some of its features. Especially the
> capability of having multiple timelines (programs) assigned to one
> common project.
>
> I am not finding this in Premiere.
It's not in Premiere: one project, one timeline.
The workaround (such as it is) is to dupe your program later on the same
timeline, and change it there, in the same way you'd use the virtual clips
feature. Just don't forget to set your work area to the section of the
timeline containing the program version you want to work on!
Of course if you are working long-form you'll run into the dreaded slowdown
problem all the sooner.
Cheers,
Adam Wilt
a DV FAQ: http://www.adamwilt.com/DV.html




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


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