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High Definition Video for Independent Filmmakers
A How To Guide for Digital Filmmakers
Welcome all! This is my blog to share my latest research,
thoughts, etc. on utilizing HD for independent filmmaking.
YES, I am available for consulting
Contact me at mike@hdforindies.com
All content copyright 2004-2007 Mike Curtis.
Wednesday, June 28, 2006
Notes from Dallas Apple XDCAM HD presentation
Hey all, it's late, I'm beat, drove 6 hours today, including a mad 200 mile dash in under 3 hours from 4 to 7pm to catch Superman Returns (shot on Panavision Genesis, BTW).
So here's the quickie scoop on XDCAM HD & FCP stuff:
-25mbit only - 18/35 in progress, not yet
-1080p24 IS included, as well as 1080i60 and 1080i50
-FireWire capture
-FREE Sony software
-supposedly available now/real soon, but link I found doesn't work
-NO Canon 24F or JVC 24p support at this time, they're working on it
-for 18 or 35mbit, you CAN use FireWire deck control (put camera in AVC mode, that's Audio Video Control something or other, not Advanced Video Codec), then capture over HD-SDI - so FireWire deck control, HD-SDI ingest
-when doing that HD-SDI capture, the CAMERA kicks out 24p as 1080p24on60i, the DECK kicks out a true 1080psf (Sony style 1080p) - so that's an advantage of the deck
Thursday Update - it'll be interesting to see if the Flip4Mac software offers any advantages over Sony's, other than the fact that as of right now, the Sony software isn't available yet (where is it!!???!!). I could see Flip4Mac dropping their price in the next month. It is tough to compete with free. I found out Greg Boston, who was at the Texas HD Shootout, now owns the camera that we had there and is a few hours drive away, so I'll probably collaborate with him to check out the plugin.
Full notes below, probably more good stuff, too tired to glean'em right now:
got here late, looks like they have a Sony 4K projector running...Woooooow
1/2 million Final Cut (all versions) seats out there
got installs - ABC, NBC, CBS, fox, CNN, etc.
Disney, Dreamworks, Fox, paramount, Unviersal, WB have all cut major features w/FCP
current standing:
FCP 5.1 shipping,
-FCP no longer standalone
-MacBook Pros are 2.5x faster than Powerbooks
-OK, it's official -XDCAM HD native editing is listed
-"touch the video as little as possible"
-only one version of FCP - not a bunch of steps
-
Native XDCAM HD suprt
requires FCS 5.1.1
Sony XDCAM transfer software
1080i50/60, 1080p24, and VFR
-24mbit CBR (not 35)
BTW - the projector looks FANTASTIC - tack sharp and good! It's the high end Sony 4K monster
-over 600 customizable commands and tools (hey - make the stuff a button or key command!) in FCP
-can add shots to a multicam clip at any time - handy!
-"works with MacBook Pro DVI output" - so maybe that Dig. Cinema Desktop for MacBook? No?
-Fincher uses a 65" plasma monitor using Digital Cinema Desktop
-Compressor - ask about the green sparklies? Play w/5.1.1
-HEY - can install Compressor nodes at no additional charge!
-Import-Sony XDCAM menu
-launches the external app
-you get visual preview of all your shots, each clip is read off the disc, can do an offline logging session
-pop in the cartridge, then you go online
-on left side you ahve a list of discs have worked with or are installed,
-on top are thumbnails
-on bottom is picture preview, transport controls, on bottom right list of all metadata associated w/clips
-go go into a previewed clip and mark In and Outs, then click the Plus button and it'll add that to the queue to be imported
-on the preview clip itself, it puts a little IN/OUT text on each clip's preview so you can telll when they've been set
-the little window on the lower right shows q'd per shot
-you can Sort By Subclips and it'll put all the marked stuff up front
-there's a checkbox for importing to FCP
-get a little queue of these working
-the dock icon shows how many shots left to pull in
-shots appear in your bins in FCP as they are sent from the Sony app
-how fast is importing? Dunno
-realtime XDCAM HD cross dissolve
-on MacBook Pro, XDCAM HD plays back realtime, even with a 3way color corrector (auto balance and saturation adjusted)
-can save color corrections as favorite then drag & drop to other clips, even in bulk
-could also do a two HD shot composite (PIP essentially)
-playing multiple clips, it drops to 1/2 rate with 2 or 3 clips, with six clips it is 1/4 frame rate, but snaps right back to full speed when you get back to a single clip
-realtime Motion performance, playing back XDCAM HD shot, adding filters that play back realtime....wow, it's pretty impressive off the MacBook Pro!
-can leave the clip looping and playing while you mess around with settings
-saving settings as a favorite is POWERFUL - can do batch stuff!
-any way to get Motion to do that? Could be done for pulldown stuff? Get Graeme to write Motion plugin?
-CAN export back to Sony XDCAM HD
-has to conform for a GOP structure, then writes it to disk, so expect it to take just as long as HDV conforming as well
-Shake now $499
-working on it
-can create disc images of the XDCAM HD discs on the computer and access it as such
-loading previews of clips takes a few seconds per shot in general
-keyboard commands are all the same as FCP keystrokes
-on import, writing files to your designated folder (set in Sony app not FCP)
-Canon and JVC - not yet, in testing and stuff
-within a week for Greg's question
-plugin in theory available now
-Q: edit w/low res proxies and relink? A: no, not at this time, and not much benefit to doing so
-OH! and this connects via FireWire to transfer data, not GigE
-faster than realtime import, 3-3.5X realtime
-but anywhere from 1.5-3.5 times faster than realtime
-frame accumulation can work with time lapse
-Aurora Borealis shots were done with time lapse with frame accumulation
-in frame accumulation form 2-64 frames
-2, 3, 4, 8, 16, 32, or 64 frames
-YES you can get FireWire deck control for HD-SDI input (decks or cameras or both?)
-undercranking is 4fps, timelapse starts at 1fps
-firmware upgradeability? upgrade by memory stick (and that works now)
-the H264 based stuff is destined to be consumer only according to Sony rep
-XDCAM uses MPEG-4 for the proxies
-35mbit MPEG-2 with current chipset does better than anything around that bitrate according to Sony guy....I sincerely don't believe that, since the Canon looked better to my & Adam Wilt's eye
-
=[[[[[[[[[[[[[[[================
Questions to ask:
-green sparklies when 10 bit converting in Compressor?
not asked
-XDCAM HD - what about 18/35 mbit - when? no comment, working on it
-how does VFR (variable frame rate) work? not asked
-does Apple plan on supporting 18&35 mbit?
YES
-saw the 1080p24 HDV codec, so does that mean Canon XL H1 24F support?
working on it
-what about JVC GY-HD100U 24p support?
working on it
-720p25 support? not asked
-back to XDCAM HD conforming - same time as HDV?
Shake - end of developmental life?
-JVC & Canon 24p & 24F HDV support in this version? NO
-when's plugin ship? supposedly now, but can't find it
End notes. Must crash. More tomorrow, including comments on Superman Returns.
So here's the quickie scoop on XDCAM HD & FCP stuff:
-25mbit only - 18/35 in progress, not yet
-1080p24 IS included, as well as 1080i60 and 1080i50
-FireWire capture
-FREE Sony software
-supposedly available now/real soon, but link I found doesn't work
-NO Canon 24F or JVC 24p support at this time, they're working on it
-for 18 or 35mbit, you CAN use FireWire deck control (put camera in AVC mode, that's Audio Video Control something or other, not Advanced Video Codec), then capture over HD-SDI - so FireWire deck control, HD-SDI ingest
-when doing that HD-SDI capture, the CAMERA kicks out 24p as 1080p24on60i, the DECK kicks out a true 1080psf (Sony style 1080p) - so that's an advantage of the deck
Thursday Update - it'll be interesting to see if the Flip4Mac software offers any advantages over Sony's, other than the fact that as of right now, the Sony software isn't available yet (where is it!!???!!). I could see Flip4Mac dropping their price in the next month. It is tough to compete with free. I found out Greg Boston, who was at the Texas HD Shootout, now owns the camera that we had there and is a few hours drive away, so I'll probably collaborate with him to check out the plugin.
Full notes below, probably more good stuff, too tired to glean'em right now:
got here late, looks like they have a Sony 4K projector running...Woooooow
1/2 million Final Cut (all versions) seats out there
got installs - ABC, NBC, CBS, fox, CNN, etc.
Disney, Dreamworks, Fox, paramount, Unviersal, WB have all cut major features w/FCP
current standing:
FCP 5.1 shipping,
-FCP no longer standalone
-MacBook Pros are 2.5x faster than Powerbooks
-OK, it's official -XDCAM HD native editing is listed
-"touch the video as little as possible"
-only one version of FCP - not a bunch of steps
-
Native XDCAM HD suprt
requires FCS 5.1.1
Sony XDCAM transfer software
1080i50/60, 1080p24, and VFR
-24mbit CBR (not 35)
BTW - the projector looks FANTASTIC - tack sharp and good! It's the high end Sony 4K monster
-over 600 customizable commands and tools (hey - make the stuff a button or key command!) in FCP
-can add shots to a multicam clip at any time - handy!
-"works with MacBook Pro DVI output" - so maybe that Dig. Cinema Desktop for MacBook? No?
-Fincher uses a 65" plasma monitor using Digital Cinema Desktop
-Compressor - ask about the green sparklies? Play w/5.1.1
-HEY - can install Compressor nodes at no additional charge!
-Import-Sony XDCAM menu
-launches the external app
-you get visual preview of all your shots, each clip is read off the disc, can do an offline logging session
-pop in the cartridge, then you go online
-on left side you ahve a list of discs have worked with or are installed,
-on top are thumbnails
-on bottom is picture preview, transport controls, on bottom right list of all metadata associated w/clips
-go go into a previewed clip and mark In and Outs, then click the Plus button and it'll add that to the queue to be imported
-on the preview clip itself, it puts a little IN/OUT text on each clip's preview so you can telll when they've been set
-the little window on the lower right shows q'd per shot
-you can Sort By Subclips and it'll put all the marked stuff up front
-there's a checkbox for importing to FCP
-get a little queue of these working
-the dock icon shows how many shots left to pull in
-shots appear in your bins in FCP as they are sent from the Sony app
-how fast is importing? Dunno
-realtime XDCAM HD cross dissolve
-on MacBook Pro, XDCAM HD plays back realtime, even with a 3way color corrector (auto balance and saturation adjusted)
-can save color corrections as favorite then drag & drop to other clips, even in bulk
-could also do a two HD shot composite (PIP essentially)
-playing multiple clips, it drops to 1/2 rate with 2 or 3 clips, with six clips it is 1/4 frame rate, but snaps right back to full speed when you get back to a single clip
-realtime Motion performance, playing back XDCAM HD shot, adding filters that play back realtime....wow, it's pretty impressive off the MacBook Pro!
-can leave the clip looping and playing while you mess around with settings
-saving settings as a favorite is POWERFUL - can do batch stuff!
-any way to get Motion to do that? Could be done for pulldown stuff? Get Graeme to write Motion plugin?
-CAN export back to Sony XDCAM HD
-has to conform for a GOP structure, then writes it to disk, so expect it to take just as long as HDV conforming as well
-Shake now $499
-working on it
-can create disc images of the XDCAM HD discs on the computer and access it as such
-loading previews of clips takes a few seconds per shot in general
-keyboard commands are all the same as FCP keystrokes
-on import, writing files to your designated folder (set in Sony app not FCP)
-Canon and JVC - not yet, in testing and stuff
-within a week for Greg's question
-plugin in theory available now
-Q: edit w/low res proxies and relink? A: no, not at this time, and not much benefit to doing so
-OH! and this connects via FireWire to transfer data, not GigE
-faster than realtime import, 3-3.5X realtime
-but anywhere from 1.5-3.5 times faster than realtime
-frame accumulation can work with time lapse
-Aurora Borealis shots were done with time lapse with frame accumulation
-in frame accumulation form 2-64 frames
-2, 3, 4, 8, 16, 32, or 64 frames
-YES you can get FireWire deck control for HD-SDI input (decks or cameras or both?)
-undercranking is 4fps, timelapse starts at 1fps
-firmware upgradeability? upgrade by memory stick (and that works now)
-the H264 based stuff is destined to be consumer only according to Sony rep
-XDCAM uses MPEG-4 for the proxies
-35mbit MPEG-2 with current chipset does better than anything around that bitrate according to Sony guy....I sincerely don't believe that, since the Canon looked better to my & Adam Wilt's eye
-
=[[[[[[[[[[[[[[[================
Questions to ask:
-green sparklies when 10 bit converting in Compressor?
not asked
-XDCAM HD - what about 18/35 mbit - when? no comment, working on it
-how does VFR (variable frame rate) work? not asked
-does Apple plan on supporting 18&35 mbit?
YES
-saw the 1080p24 HDV codec, so does that mean Canon XL H1 24F support?
working on it
-what about JVC GY-HD100U 24p support?
working on it
-720p25 support? not asked
-back to XDCAM HD conforming - same time as HDV?
Shake - end of developmental life?
-JVC & Canon 24p & 24F HDV support in this version? NO
-when's plugin ship? supposedly now, but can't find it
End notes. Must crash. More tomorrow, including comments on Superman Returns.
Comments:
"-35mbit MPEG-2 with current chipset does better than anything around that bitrate according to Sony guy....I sincerely don't believe that, since the Canon looked better to my & Adam Wilt's eye"
Are you saying that the picture (to your eye) from the $8,999 Canon looked better than the $26,000 + 13,000(Lens) Sony F350? If that is what you are saying, that's a BOLD statement!
Are you saying that the picture (to your eye) from the $8,999 Canon looked better than the $26,000 + 13,000(Lens) Sony F350? If that is what you are saying, that's a BOLD statement!
About the Canon vs Sony thing - nope, let me clarify:
-the Sony rep was saying their MPEG-2 COMPRESSION (not image quality, just the compression) was so great, but Adam and I felt the compression was preferable on the 25mbit CBR Canon - exhibiting fewer artifacts, etc.
So not overall image quality, JUST compression.
-mike
-the Sony rep was saying their MPEG-2 COMPRESSION (not image quality, just the compression) was so great, but Adam and I felt the compression was preferable on the 25mbit CBR Canon - exhibiting fewer artifacts, etc.
So not overall image quality, JUST compression.
-mike
In judging compression, the two important issues to me are (1) artifacts and (2) how well it handles color correction. This would be a great thing to see tested (yeah I know, add it to the list). Mike, I think you first found that HDV doesn't do so hot with color correction, but then retracted that a bit when you started digging into Final Touch, no? I wonder how the 35mbit XDCAM stacks up.
I think that the rule of thumb would be to not color correct in EITHER of the MPEG-2 codecs (Cannon25 or Sony35).
My guess is that color correction should happen in either DVCPRO HD or uncompressed, right?
Is that what you would say Mike?
My guess is that color correction should happen in either DVCPRO HD or uncompressed, right?
Is that what you would say Mike?
The 35Mb/s of the Sony is a VBR mode, that means variable-bit-rate.
The actual range of that mode is 18-35Mb/s depending on the scene complexity.
So depending on what's in the scene, how things are moving, etc., you may not be getting the full 35Mb/s datarate, you might be getting 20Mb/s or 22Mb/s or 18Mb/s, etc. In that case the compression on the Canon could indeed look better depending on the circumstances . . . unfortunetly I'm not sure how Sony guesses what's the appropriate data-rate . . . and there doesn't seem to be a way to "force" the camera to go all the way to 35Mb/s.
The actual range of that mode is 18-35Mb/s depending on the scene complexity.
So depending on what's in the scene, how things are moving, etc., you may not be getting the full 35Mb/s datarate, you might be getting 20Mb/s or 22Mb/s or 18Mb/s, etc. In that case the compression on the Canon could indeed look better depending on the circumstances . . . unfortunetly I'm not sure how Sony guesses what's the appropriate data-rate . . . and there doesn't seem to be a way to "force" the camera to go all the way to 35Mb/s.
Jason - all true, but it boils down to this - we noticed a bunch of examples where the COMPRESSION looked better on the Canon than it did on the Sony, often in situations where both cameras were running simultaneously shooting the exact same thing. So if the Canon looked better, the Sony SHOULD have been allocating more bandwidth.
In the end, we thought, overall, the compression from Canon was preferable to the Sony. End of story.
In the end, we thought, overall, the compression from Canon was preferable to the Sony. End of story.
Christopher,
After you have a film edited, you could convert the whole thing from HDV to say uncompressed and color correct that. I imagine that would give a lot better results than color correcting the HDV, plus there would not be loss due to recompression. Still, the ability to color correct is hampered by what the HDV / XDCAM codec does to the color data (based on perceptual factors I think ) which is not regained by converting to uncompressed. BTW - Sorry if I'm stating what you already know - I'm learning this.
After you have a film edited, you could convert the whole thing from HDV to say uncompressed and color correct that. I imagine that would give a lot better results than color correcting the HDV, plus there would not be loss due to recompression. Still, the ability to color correct is hampered by what the HDV / XDCAM codec does to the color data (based on perceptual factors I think ) which is not regained by converting to uncompressed. BTW - Sorry if I'm stating what you already know - I'm learning this.
Discovery HD have accepted the 35mb codec for unlimited production and will only accept 20% content of the 25mb, Sony engineers have spent a lot of time with the 35 codec to get it right for broadcast. Having said that, no-one seems to have worked with it in a post environment yet so we'll have 2 wait and see.
hi guys
unofficial info for you in this regard...
-Q: edit w/low res proxies and relink? A: no, not at this time, and not much benefit to doing so
lowres, 18 and 35 mbps codecs are promised for delivery at IBC
cheers
unofficial info for you in this regard...
-Q: edit w/low res proxies and relink? A: no, not at this time, and not much benefit to doing so
lowres, 18 and 35 mbps codecs are promised for delivery at IBC
cheers
"-720p25 support? not asked"
Damn :-) I wish we could catch a glimpse of this in progress as we have with the Canon 24p HDV format. Please, please try and bug the nearest Apple rep next chance you have Mike.
Thanks
Mark
Damn :-) I wish we could catch a glimpse of this in progress as we have with the Canon 24p HDV format. Please, please try and bug the nearest Apple rep next chance you have Mike.
Thanks
Mark
One comment I'd like to add. I was at the Dallas preso as well. Did you notice that the guest DP talking his way through all those sample shots didn't actually show the Aurora Borealis shot when he mentioned it? That aurora shot used the accumulation AND the time lapse and the reason it didn't make the cut was that it kinda looked poopy. That was the one clip that I saw that was chock full of artifacts. I really couldn't tell that it was the Aurora Borealis. It just looked like clouds. On the bright side though, you COULD see the stars in there. That's what I wanted to know. I've yet to shoot any video at night where I could see any stars in the sky.
Sam Crutsinger
Sam Crutsinger
Sam - I came in late so I missed the screening of that footage, I just heard the question during the Q&A.
No benefit to editing with low rez material? I haven't seen this transfer workflow, but it doesn't seem very user friendly to have to use this strange other function to view/log/import material and then edit. I like to ingest all my material, log/cut as I go then conform to the online resolution. So, I wonder if you can import OfflineRT via FW, do your cut, and then somehow import HD material (fia FW and this transfer software) based upon your offline project.
Roger - there would be benefit to using the low res, but the audience was lackluster about that feature when asked - I think everyone was thinking the same thing - "Get 18 and 35 megabit properly supported first, THEN mess with the other stuff." You can import full clips and cut it down later too. The footage is cheap, storage wise - 12 GB/hr. With 750 GB drives on the market, you really can't bitch about that too much.
The workflow you propose? Can't do that with this software at this time.
The workflow you propose? Can't do that with this software at this time.
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