Monday, October 26, 2009

Re: [FCP-L] FCS surround encoding

 

Disregard - only one of my methods was faulty; it was my testing
method this afternoon that turned out to be problematic. Surround
encoder working well.

gh
----------------------------------------------------
Greg Huson
Secret Headquarters, Inc
Post Production / Production
Culver City, CA
323 677 2092
323 677 2096 F
www.DigitalServiceStation.com
greg (at) SecretHQ.com
www.SecretHQ.com

On Oct 26, 2009, at 7:24 PM, Greg Huson wrote:

> No matter what method I use, FCS consistently encodes my surround to
> stereo, even though I've been through the process by every method I
> can figure. I followed any and all instructions I could find in the
> book, and online - yet my discreet 6 tracks keep getting mixed down by
> the 5.1 encoder. My decoder shows I'm getting 6 tracks, but
> everything is still mix to L and R, with C, LFE, LS, and RS silent.
>
> I have built a test project with 6 discreet test audio channels that
> sync up with text in the picture, saying which channel should be
> played back. I've set the outputs carefully; I've even tried using
> 'add surround group' in compressor, having each track be an individual
> aiff file, and linking them one-by-one to the surround group. In
> that case, it appears that R, C, LFE, LS, and RS all get encoded
> into R.
>
> Anyone else seen this? Any clues where I might be missing something?
> I'm so certain I'm doing this right - yet if there was a software bug,
> I'm certain we would of heard about it before now, right? Someone
> must be doing proper dolby 5.1, not just 2.0.
>
> Any tips much appreciated. It's got to be something obvious I'm
> missing... even though I've been through it multiple times in the last
> week.
>
> gh
> ----------------------------------------------------
> Greg Huson
> Secret Headquarters, Inc
> Post Production / Production
> Culver City, CA
> 323 677 2092
> 323 677 2096 F
> www.DigitalServiceStation.com
> greg (at) SecretHQ.com
> www.SecretHQ.com
>
> [Non-text portions of this message have been removed]
>
>
>

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Posted by Video Geek Squad at 8:22 PM 0 comments

[FCP-L] FCS surround encoding

 

No matter what method I use, FCS consistently encodes my surround to
stereo, even though I've been through the process by every method I
can figure. I followed any and all instructions I could find in the
book, and online - yet my discreet 6 tracks keep getting mixed down by
the 5.1 encoder. My decoder shows I'm getting 6 tracks, but
everything is still mix to L and R, with C, LFE, LS, and RS silent.

I have built a test project with 6 discreet test audio channels that
sync up with text in the picture, saying which channel should be
played back. I've set the outputs carefully; I've even tried using
'add surround group' in compressor, having each track be an individual
aiff file, and linking them one-by-one to the surround group. In
that case, it appears that R, C, LFE, LS, and RS all get encoded into R.

Anyone else seen this? Any clues where I might be missing something?
I'm so certain I'm doing this right - yet if there was a software bug,
I'm certain we would of heard about it before now, right? Someone
must be doing proper dolby 5.1, not just 2.0.

Any tips much appreciated. It's got to be something obvious I'm
missing... even though I've been through it multiple times in the last
week.

gh
----------------------------------------------------
Greg Huson
Secret Headquarters, Inc
Post Production / Production
Culver City, CA
323 677 2092
323 677 2096 F
www.DigitalServiceStation.com
greg (at) SecretHQ.com
www.SecretHQ.com

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Posted by Video Geek Squad at 7:24 PM 0 comments

Re: [FCP-L] Re: Slightly OT: shooting NTSC for PAL conversion

 

I don't doubt that SD is shot and finished progressive, but Tony said
that "most" SD was progressive. I may be well out of touch as I've
spent the last 2 years doing 1080p animation but I find that very hard
to believe... Although I do reserve the right to eat my words!
There's not long left on this show so I'm sure I'll be back on the
MiniDV SD soon enough :)
Best,
Taig

On 26 Oct 2009, at 11:25, Bouke wrote:

> Not sure about the BBC (that's a few hundred km's from here),
> but i'm currently doing a relative expensive doc shot on SD XDcam
> progressive.
> (The DOP likes the 'film' look, i for one do not, and i finish it
> interlaced
> where possible...)
>
> Bouke
>
> VideoToolShed
> van Oldenbarneveltstraat 33
> 6512 AS NIJMEGEN
> The Netherlands
> +31 24 3553311
> www.videotoolshed.com
> For large files:
> http://dropbox.yousendit.com/BoukeVahl998172
> ----- Original Message -----
> From: "Robin S. Kurz" <robin.kurz@mac.com>
> To: <FinalCutPro-L@yahoogroups.com>
> Sent: Monday, October 26, 2009 8:13 AM
> Subject: Re: [FCP-L] Re: Slightly OT: shooting NTSC for PAL conversion
>
> >
> > On 25.10.2009, at 18:21, Taig McNab wrote:
> >
> >> Really Tony?
> >> Where are you getting your "most material" from?
> >> I've never had SD progressive sources in 10 years of UK
> broadcast...
> >> and I also heard (and obviously you know more than me on this one)
> >> that the Gadget Show is still shot interlaced...
> >> Intrigued,
> >> Taig
> >
> >
> > Good point that I missed.
> > I, too, would be very interested which *SD* formats the BBC
> allegedly
> > shoots progressive or rather how/with what?
> >
> > - RK
> >
>
>
>

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Posted by Video Geek Squad at 1:56 PM 0 comments

Re: [FCP-L] Best way to Matte White Screen

RGB and CMYK colors are additive when viewed via an emissive medium
like a computer monitor. CMY colors are complementary to RBG (and vice-
versa I suppose). RGB and CMY are also inversions of each other in the
standard additive Hue wheel (R-C, G-M, B-Y). YCbCr are also additive.

"RGB" (or "CMYK") mixed oil paints on canvas (or photos printed) is
subtractive. Your printing app or the printer does the conversion from
an additive RGB or CMYK monitor color space to a printer printing
color space which translates properly onto the subtractive printed
paper. The K of CMYK is traditionally necessary to get full
subtractive blacks on some subtractive output devices where CMY (or
RGB) tends to be more muddy brownish black then full black (but
depends upon the subtractive output device). My Epson R2880 prints
rich full blacks transparently. So it is less off an issue to futz
with when using modern inkjet printers.

James


On Oct 26, 2009, at 4:37 AM, Roger Shufflebottom wrote:

> Just to stir the pot, I was looking in the Help for Adobe
> Illustrator this
> morning and I happened on the following:
>
> "RGB colors are called additive colors because you create white by
> adding R,
> G, and B together—that is, all light is reflected back to the eye.
> Additive
> colors are used for lighting, television, and computer monitors. Your
> monitor, for example, creates color by emitting light through red,
> green,
> and blue phosphors."
>
> On 25/10/2009 22:40, "Kerry Soloway" <ksoloway@gmail.com> wrote:
>
> > Indeed, we are discussing Additive vs. Subtractive.
> >
> > If I remember high school art class, although theoretically mixing
> all
> > colors creates black. In fact, it creates brown. That is why, I
> believe,
> > they need the K in CMYK. Mixing any two complements of colors
> (opposite
> > sides of the color wheel) create brown. Well, if you use all
> colors, you
> > have every color with its complement. Thus you are mixing brown
> and brown
> > and brown, etc.
> >
> > It was something that always puzzled me.
> >
> > Kerry
> >
> With best wishes,
>
> Roger Shufflebottom
> Avid Certified Instructor
> http://www.bottom-line.tv
> Tel: +44 1992 535 031 (UK)
> Mobile: +44 7973 543 660
>
>

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Posted by Video Geek Squad at 1:01 PM 0 comments

Re: [FCP-L] Show Excess Luma not working

No offense taken since anyone, no matter how experienced can get
brain-freeze.

It turns out it may be a problem with the actual sequence.

I created a completed new sequence and copy and pasted all of the clips from
the problematic one and it now works fine. Go figure.

Kerry
-------------------
Kerry Soloway
http://www.NightingaleEditorial.com
201-247-4110
ksoloway@gmail.com

Fred Friendly Seminars' "Minds on the Edge: Facing Mental Illness" is airing
in October. "Consuelo Mack/WealthTrack" airs weekly. Both on PBS. Check
your local listings.


On Mon, Oct 26, 2009 at 3:32 PM, Robin S. Kurz <robin.kurz@mac.com> wrote:

> Oops... never mind. I thought the "Show Overlays" affects the Luma
> Overlay also, but it's only for Title Safe and Timecode afterall. Damn.
>
> Okay. Then I'm stumped if e.g. a restart of FCP doesn't do it (because
> of classic redraw glitches).
>
> - RK
>
>
> On 26.10.2009, at 20:27, Robin S. Kurz wrote:
>
> > No offense, but are you sure that BOTH "Show Excess Luma" AND "Show
> > Overlays" are selected in the Canvas View Menu?
> >
> > - RK
> >
> >
> > On 26.10.2009, at 19:58, Kerry Soloway wrote:
> >
> >> I'm working on a project that I have taken over from someone else.
> >> One
> >> particular sequence will not display the Show Excess Luma icon. If I
> >> double-click a clip, it will show in the Viewer with the icon (if
> >> enabled,
> >> of course). Other sequences in the same project work fine.
> >>
> >> The offending sequence was standard definition 10-bit uncompressed
> >> in case
> >> that matters. However, when changing it to Pro-Res 422 (HQ), the
> >> same thing
> >> happens. There are about 15 channels of video in some places.
> >>
> >> Any ideas?
> >>
> >> Kerry
> >
> >
> > ------------------------------------
> >
> > To learn more about the FinalCutPro-L group, please visit
> > http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
> >
> >
> >
>
>
>
>
>
>
>
>
> : : : : : : : : : : : : : : : : : : : : : : : : : : : :
> : : : : :
>
> Robin S. Kurz
> GERMANY
>
> fon: +49 511 3882938
> mobile: +49 151 52584325
> ichat/email: robin.kurz(at)mac(dot)com
>
>
>
>
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
>
>
>
>


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Posted by Video Geek Squad at 12:39 PM 0 comments

Re: [FCP-L] Show Excess Luma not working

Oops... never mind. I thought the "Show Overlays" affects the Luma
Overlay also, but it's only for Title Safe and Timecode afterall. Damn.

Okay. Then I'm stumped if e.g. a restart of FCP doesn't do it (because
of classic redraw glitches).

- RK


On 26.10.2009, at 20:27, Robin S. Kurz wrote:

> No offense, but are you sure that BOTH "Show Excess Luma" AND "Show
> Overlays" are selected in the Canvas View Menu?
>
> - RK
>
>
> On 26.10.2009, at 19:58, Kerry Soloway wrote:
>
>> I'm working on a project that I have taken over from someone else.
>> One
>> particular sequence will not display the Show Excess Luma icon. If I
>> double-click a clip, it will show in the Viewer with the icon (if
>> enabled,
>> of course). Other sequences in the same project work fine.
>>
>> The offending sequence was standard definition 10-bit uncompressed
>> in case
>> that matters. However, when changing it to Pro-Res 422 (HQ), the
>> same thing
>> happens. There are about 15 channels of video in some places.
>>
>> Any ideas?
>>
>> Kerry
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
>
>
>


: : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : :

Robin S. Kurz
GERMANY

fon: +49 511 3882938
mobile: +49 151 52584325
ichat/email: robin.kurz(at)mac(dot)com

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Posted by Video Geek Squad at 12:32 PM 0 comments

RE: [FCP-L] Show Excess Luma not working

Robin - did you just say "no offense"?

I'm so shocked I need to sit down...

Tim McLaughlin
Avid and Final Cut Pro Editor
http://www.mcltim.com
Phone (847) 358-0277
Cell (847) 370-4379

> To: FinalCutPro-L@yahoogroups.com
> From: robin.kurz@mac.com
> Date: Mon, 26 Oct 2009 20:27:53 +0100
> Subject: Re: [FCP-L] Show Excess Luma not working
>
> No offense, but are you sure that BOTH "Show Excess Luma" AND "Show
> Overlays" are selected in the Canvas View Menu?
>
> - RK

[Non-text portions of this message have been removed]

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Posted by Video Geek Squad at 12:32 PM 0 comments

Re: [FCP-L] Show Excess Luma not working

No offense, but are you sure that BOTH "Show Excess Luma" AND "Show
Overlays" are selected in the Canvas View Menu?

- RK


On 26.10.2009, at 19:58, Kerry Soloway wrote:

> I'm working on a project that I have taken over from someone else. One
> particular sequence will not display the Show Excess Luma icon. If I
> double-click a clip, it will show in the Viewer with the icon (if
> enabled,
> of course). Other sequences in the same project work fine.
>
> The offending sequence was standard definition 10-bit uncompressed
> in case
> that matters. However, when changing it to Pro-Res 422 (HQ), the
> same thing
> happens. There are about 15 channels of video in some places.
>
> Any ideas?
>
> Kerry


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Posted by Video Geek Squad at 12:27 PM 0 comments

[FCP-L] Show Excess Luma not working

 

I'm working on a project that I have taken over from someone else. One
particular sequence will not display the Show Excess Luma icon. If I
double-click a clip, it will show in the Viewer with the icon (if enabled,
of course). Other sequences in the same project work fine.

The offending sequence was standard definition 10-bit uncompressed in case
that matters. However, when changing it to Pro-Res 422 (HQ), the same thing
happens. There are about 15 channels of video in some places.

Any ideas?

Kerry
-------------------
Kerry Soloway
http://www.NightingaleEditorial.com
201-247-4110
ksoloway@gmail.com

Fred Friendly Seminars' "Minds on the Edge: Facing Mental Illness" is airing
in October. "Consuelo Mack/WealthTrack" airs weekly. Both on PBS. Check
your local listings.

[Non-text portions of this message have been removed]

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Posted by Video Geek Squad at 11:58 AM 0 comments

RE: [FCP-L] Here comes democratization of the movie business...

 

Digital projection can screw up too. Took my dad to see the last James
Bond flick at the only theater in the Chicago area that had Sony 4K
projection...we all got free passes for future use because they had so
much trouble getting the movie to show - the picture kept going out as
the sound played - and apparently they didn't know how to go back and
show the parts that didn't project...so we had to keep guessing what
happened and how people survived car chases and plane crashes. And not
nearly as much fun as watching a film break and melt before your eyes.

Tim Johnson
Pastoral Assistant
Audio Visual Ministry
Trinity Lutheran Church
Roselle, IL

"Aye Sir, the more they overtech the plumbing, the easier it is to stop
up the drain."
Scotty
Star Trek III: The Search for Spock

This is fantastic news. Once you've seen digital projection, Film
looks terrible...oh, and did I mention that last Saturday morning we
all got refunds because the "Saw VI" optical track was screwed up?
(Yeah, don't comment on my taste in movies--I try to see 'em all)

On Oct 26, 2009, at 1:21 PM, tcurren wrote:

> http://tinyurl.com/yjmfwbx

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Posted by Video Geek Squad at 11:27 AM 0 comments

Re: [FCP-L] Here comes democratization of the movie business...

 

This is fantastic news. Once you've seen digital projection, Film
looks terrible...oh, and did I mention that last Saturday morning we
all got refunds because the "Saw VI" optical track was screwed up?
(Yeah, don't comment on my taste in movies--I try to see 'em all)

On Oct 26, 2009, at 1:21 PM, tcurren wrote:

> http://tinyurl.com/yjmfwbx
>
> [Non-text portions of this message have been removed]
>
>
>

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Posted by Video Geek Squad at 11:02 AM 0 comments

Re: [FCP-L] Re: HDV Question

 

Yeah, but not THAT compressed...

On Oct 26, 2009, at 10:59 AM, John Kilgour wrote:

> Watch: all the smart-asses are going to chime-in that, "well,
> Digibeta IS compressed.."
>
> On Oct 26, 2009, at 12:21 PM, Shane Ross wrote:
>
> > Well, I guess I am used to color correcting digibeta captured as 1:1
> > or Uncompressed, and DVCPRO HD, and HDCAM SR...so much more latitude
> > with those that when I get to HDV I feel like I have one hand tied
> > behind my back. ANd no, it doesn't help that the DPs shoot with the
> > odd 15fps shutter and REALLY shoot blue for night scenes.
> >
> > And no, the camera tech is not as important as story. But when I see
> > horrid breakup like that, a LOT, and networks bitched about beta
> hits
> > which were not nearly as bad...and the networks sees these and gives
> > them a pass? Well... seems odd.
> >
> > But true...when the story is good, who cares what it was shot on?
> > DEADLIEST CATCH seems to make it work. But that always looks like
> > home video. Except for the shots of the boats on the water...but
> that
> > isn't HDV either. Only the footage from the boats. And
> > SURVIVORMAN...again, looks like a home movie. Then we have Crank 2
> > (that I haven't seen)... so who's to say?
> >
> > I just know that of all the formats I have worked with, this is the
> > worse of the HD bunch... like DV is to SD.
> >
> > -shane
> >
> > On Oct 26, 2009, at 8:00 AM, Patrick Inhofer wrote:
> >
> > >
> > >
> > > On Oct 23, 2009, at 9:06 PM, Shane Ross wrote:
> > >
> > > > Yeah, I am paid. But to COLOR CORRECT that footage. Very little
> > > > latitude...can't do too much. Even when it is ProRes.
> > >
> > > Shane,
> > >
> > > It's interesting - I've CCed a few series shot on HDV, including
> an
> > > ABC prime time reality-type documentary ("Hopkins").
> > >
> > > I've found HDV to be remarkably robust. Much more latitude than
> > DV. I
> > > used to cringe when I'd hear an incoming project is HDV. No more.
> > I've
> > > become a big believer in: "It's not the format, it's the shooter."
> > >
> > > I think what you're running up against is either a poor camera
> > > implementation of HDV or this 15fps crap is utterly defeating the
> > > codec. It's already long-GOP, now you're either reducing the
> > frequency
> > > of the GOP or introducing blurs that are particularly nasty for
> any
> > > long GOP scheme to properly encode.
> > >
> > > It doesn't trouble me so much that Discovery considers it
> > acceptable -
> > > since all they care about is a good story that draws eyeballs.
> It's
> > > the producers and shooters who don't care enough about the quality
> > of
> > > their images that bothers me. While the audience may never glom
> onto
> > > what exactly is wrong with the image - their peers will.
> > >
> > > Oh well - such is the age of You Tube. One day, quality will count
> > > again. Let's just hope it doesn't last as long as this Bear
> Market.
> > >
> > > - pi
> > >
> > > - -
> > > Patrick inhofer
> > > Finisher-in-Chief
> > > Fini
> > > http://fini.tv/demo.html
> > >
> > >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
>
> [Non-text portions of this message have been removed]
>
>
>

[Non-text portions of this message have been removed]

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Posted by Video Geek Squad at 11:00 AM 0 comments

Re: [FCP-L] Re: HDV Question

 

Watch: all the smart-asses are going to chime-in that, "well,
Digibeta IS compressed.."

On Oct 26, 2009, at 12:21 PM, Shane Ross wrote:

> Well, I guess I am used to color correcting digibeta captured as 1:1
> or Uncompressed, and DVCPRO HD, and HDCAM SR...so much more latitude
> with those that when I get to HDV I feel like I have one hand tied
> behind my back. ANd no, it doesn't help that the DPs shoot with the
> odd 15fps shutter and REALLY shoot blue for night scenes.
>
> And no, the camera tech is not as important as story. But when I see
> horrid breakup like that, a LOT, and networks bitched about beta hits
> which were not nearly as bad...and the networks sees these and gives
> them a pass? Well... seems odd.
>
> But true...when the story is good, who cares what it was shot on?
> DEADLIEST CATCH seems to make it work. But that always looks like
> home video. Except for the shots of the boats on the water...but that
> isn't HDV either. Only the footage from the boats. And
> SURVIVORMAN...again, looks like a home movie. Then we have Crank 2
> (that I haven't seen)... so who's to say?
>
> I just know that of all the formats I have worked with, this is the
> worse of the HD bunch... like DV is to SD.
>
> -shane
>
> On Oct 26, 2009, at 8:00 AM, Patrick Inhofer wrote:
>
> >
> >
> > On Oct 23, 2009, at 9:06 PM, Shane Ross wrote:
> >
> > > Yeah, I am paid. But to COLOR CORRECT that footage. Very little
> > > latitude...can't do too much. Even when it is ProRes.
> >
> > Shane,
> >
> > It's interesting - I've CCed a few series shot on HDV, including an
> > ABC prime time reality-type documentary ("Hopkins").
> >
> > I've found HDV to be remarkably robust. Much more latitude than
> DV. I
> > used to cringe when I'd hear an incoming project is HDV. No more.
> I've
> > become a big believer in: "It's not the format, it's the shooter."
> >
> > I think what you're running up against is either a poor camera
> > implementation of HDV or this 15fps crap is utterly defeating the
> > codec. It's already long-GOP, now you're either reducing the
> frequency
> > of the GOP or introducing blurs that are particularly nasty for any
> > long GOP scheme to properly encode.
> >
> > It doesn't trouble me so much that Discovery considers it
> acceptable -
> > since all they care about is a good story that draws eyeballs. It's
> > the producers and shooters who don't care enough about the quality
> of
> > their images that bothers me. While the audience may never glom onto
> > what exactly is wrong with the image - their peers will.
> >
> > Oh well - such is the age of You Tube. One day, quality will count
> > again. Let's just hope it doesn't last as long as this Bear Market.
> >
> > - pi
> >
> > - -
> > Patrick inhofer
> > Finisher-in-Chief
> > Fini
> > http://fini.tv/demo.html
> >
> >
>
> [Non-text portions of this message have been removed]
>
>
>

[Non-text portions of this message have been removed]

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Posted by Video Geek Squad at 10:59 AM 0 comments
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