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September 9th, 2005, 12:58 PM | #1 |
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Join Date: May 2005
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HDV Workflow -> Upsampling/Deartifacting/Deinterlacing
Hi All!
I´m just trying to figure out the best workflow for HDV (on Final Cut Pro). The question is which steps to go to have the best possible image quality out of HDV. I´ve read some stuff yet but I´m very interested to have a good way and the right tools thrown together here. The final result should be a 25p/30p/24p film. Should we shoot (e.g. with FX1/Z1) in 1020i and then deinterlace it (which is the best deinterlacer?)? When should deinterlacing be done in the workflow? Or should we shoot in progressive mode? How can we raise color quality with upsampling? How can we lower the compression artifacts? What else can be done to improve picture quality? (from a technical point of view) Best way of digitizing? Which compressor would work best? How about thru SDI? How about HDVxDV? Is it still useful with FCP5? And if why? ??? More ideas??? |
September 10th, 2005, 12:37 AM | #2 | |
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Join Date: Apr 2005
Posts: 35
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HDV workflow
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lots of questions... lots of answers... these are mine... 1.de-interlace, yes. If going to DVD 2.de-interlacer? I use natress. from g., Look at joe too. boris etc. $$$ you get what you pay for. 3. max pic info in 60i 1080 4. CF30 interesting, be careful. 5. start w. 4:2:0 @1440x 1080 then what? 6. artifacts. articfacts. artifacts. Compressed video... be careful... 7. compression...Compressor, bitvise etc...Knowledge and practice will save you money. 8. SDI= analog, HDV = Digital, you decide. To all the Gurus... Will HDDVD or Blue Ray solve my HDV problems? Yes and No I think... Lewis |
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September 10th, 2005, 05:40 AM | #3 | |||||
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I use deinterlacing to have a more film like look. The plug in I use is Re:Vision Fields Kit. Quote:
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September 12th, 2005, 07:42 AM | #4 | ||||||||||
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Join Date: Nov 2004
Location: Portsmouth, UK
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When you say "25/30/24p film" do you mean a film out to 35mm for a theatrical release or do you mean just that you want a progressive scan video master for DVD and Broadcast? Quote:
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It depends how much drive space/time/patience you have and how picky you'll be on the effect de-interlacing has on your footage. Quote:
The Sonys have the infamous CineFrame 24 mode which some like and some hate, but I believe is tricky to deal with in post and has a negative impact on picture quality. There is CF25 on the 50i/PAL cams and the HVR Z1/A1 line which can be converted to 24fps by slowing DOWN 4%. The 60i/NTSC cams have CF30 which, as I said can't easily be converted to 24/25fps. With the Sony's, in general the consensus seems to be that the best quality comes from shooting interlaced (at 50i or 60i) and then de-interlacing with the best software available to you, rather than shooting with the CF modes. Quote:
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It seems likely that shooting in CF25/CF30 would also reduce artifacting a little, as uninterlaced footage at a lower resolution should compress easier. I've not personally tested this yet. For SD distribution this might be a way, but when distributed at HD res, the lower resolution of the CF mode might be apparent, depending on the nature of the images. It seems that the JVC HD100 footage (24/25/30p, 1280*720)has fewer artefacts under similar conditions than the Sonys (60i, 1440*1080) but as of yet this is based on comparible sort of similar footage. No-one has yet done a side-by-side test Quote:
Shoot tests, see what works and what doesn't. Quote:
Others prefer to edit with an i-frame intermediate codec (in FCP, DVCproHD) as it makes editing easier. You can digitise over firewire and do a software convert, taking time and HDD space, or over SDI which takes money: you need an component-SDI converter and a suitable capture card. Some SDI cards (Kona, BlackMagic) will digitised directly to DVHproHD, though you'll have all the compression artefacts of the HDV footage, plus any that the DVCproHD codec introduces (they'll be pretty imperceptable though) Quote:
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