DVL-Digest 968 - Postings: Index anamorphic adapter reviews! - (2) D-9 vs. DVCPRO50 Efficiency IBC List MPEG 2 keying anamorphic adapter reviews! - "Perry" From: Jan van der Meer We still own an unused 16:9 Century with bajonetadaptor for VX1000 ( any nice offer is welcome ). anamorphic adapter reviews! - Adam Wilt > ]I think my review of the OpTex is scheduled for the February DV Mag. > > It'll probably be out before that issue. 'Course we're still waiting > for Adam to finish writing it (not that Adam's missed a deadline or > anything. He hasn't). Only because I put the deadline out a month to accommodate all the work I have to do for IBC! Cheers, AJW D-9 vs. DVCPRO50 - Adam Wilt What are the pros and cons in D-9 ja DVCPRO50? D-9: much less expensive. DVCPRO50: smaller tape cassette; multiple vendors; can play DVCPRO25 = (D-7) tapes. > How do they compare each other? Identical codecs, identical image quality. > And what is the main advantage of BetaSX=B4s MPEG 2 compression? The compressed stream fits in an 18 Mbit channel, suitable for certai= n kinds of ENG uplink equipment. Aside from that it is not very high quality;= DV25 is felt by most to be better especially after one or two generations. Cheers, Adam Wilt Efficiency - "Perry" From: David C. McCormack For the outdoor television show I am involved with we shot 145 hours of tape to produce 6.5 hours of content - an efficiency of about 4.5%. I am interested in the efficiency rates others experience. I realize that there is every variable imaginable involved from the nature of the project to the personnel, etc. However, I am looking for what others consider to be an acceptable rate. How much tape do you expect to shoot in order to produce a half hour of content? IBC List - Adam Wilt Remember First International DV-L Summet 2001 at Global-DVC center is > Thursday September 20 at Zandvoort (Amsterdam-Beach) When does the summit start? Some of us are staying in Hoofddorp and it takes three trains to get out to Zandvoort! (Not that I'm complaining. At least you can get there by train and by foot. It's a civilized country, after all!) > DV-L meetings daily at 5:00pm ... in the Pub... Daily??? Crikey, that's a lot of beer! I have a lot of demo duty scheduled; I'll be there Saturday but can't guarantee I can make it the other evenings. Cheers! Adam "I like exclamation points today!" Wilt! MPEG 2 keying - Adam Wilt I had a posibility to do a quick test on Fast silver. MPEG 2 -edito= r.... > blue screen on miniDV footage shot on TRV-900, and it didn=B4t real= ly look > that I expected... Even Premiere=B4s (PAL 4:2:0) blue screens look = a lot > better. Your TRV900 footage starts out as 4:2:0, so editing and compositing i= n premiere uses the original footage at original quality. Transcoding to MPEG-2 I-Frame in silver. can't improve that quality. = Even if it's 4:2:2 (which silver. is), the source being 4:2:0 the transcodec = MPEG copy will only ever have 4:2:0 color resolution. Furthermore, unless you r= un silver. at a high bitrate, you will see some slight degradation of th= e image because you are adding MPEG artifacts to DV artifacts (the two are si= milar, but not the same). > Isn=B4t MPEG 2 compression very suitable for compositions and keys = etc? Only if the source material has full color bandwidth, and you use a h= igh bitrate (i.e., 30 Mbits or higher) > was there something wrong with the machine? No. > What about SDI, any difference? Little if any difference, the difference being the quality of the chr= oma interpolation in the DVCAM or DVCPRO deck's SDI output vs. the intern= al transcoding in silver. > And in general what are the main advantages on MPEG 2 editing compa= red > to DV50? The variable bit rate, so that you can use low bitrates for "offline"= work. In terms of quality I would not expect DV50 and MPEG-2 50 Mbit I-frame t= o differ greatly although I haven't had the chance to test them in detail. Cheers, Adam Wilt (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
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