Macbook editing continued

I’ve been working on cutting together a short trailer of some material shot in 1080i60 HDV using Final Cut Studio on my Macbook. I’ll post a link later today when the final cut is ready, but I wanted to make note of a few things I experienced.

First off, I’m cutting with the Apple Intermediate Codec, because somebody can’t be buggered to add quicktime support to their product (“It’ll ship in April! No May! No June!” … ). This means I’m working with 100mbit footage instead of 25mbit HDV. This seems to be right on the edge of what the Macbook drive can reasonably stream at a consistent framerate, and things go a bit stuttery when you start adding in multiple streams. But things have stayed stable, which is good.

The next thing I’ve found is that all is not well in the world of Motion. Some effects, particularly some of the glow effects, don’t seem to display correctly. Presumably this is due to the integrated graphics not supporting the needed features. What’s interesting is that the program keeps on working without complaint.

Soundtrack Pro, as always, was flawless to work with.

I haven’t noticed any other glitches that I can attribute to the Macbook. In fact, I’ve been a bit surprised at how stable the whole suite has been – no crashes or significant hiccups over 30+ hours of use.

Shake price drop

Just in case anyone missed it, Shake has gone Universal, and the price has gone from $2999 to $499 – $249 if you’re academic.

In connection with that, they’ve also announced that Shake 4.1 will be the last major release of the product, with a future high-end compositor in the works to replace it. The buzz is that it’ll be something akin to “Motion Pro,” though one would hope that it would retain node-base editing.

It’s been 6 months, why is 24F still a nightmare?

I can’t comprehend why Canon hasn’t pushed forward industry support for 24F. It’s absolutely ludicrous that 6 months after the launch of the Canon XL-H1, the major editing packages can’t edit it, and none of the decks can play it. Why Canon, why? Part of introducing a new format involves supporting said format. Instead, 24F is being left to die, used only by those willing to spend hours tweaking and testing.

</rant>

Final Cut Studio on a Macbook

I’ve finally had a chance to spend some time with Final Cut Studio (5.1) on my Macbook. A reminder, my Macbook is the black 2ghz with 1 gig of ram. I’ve also poked in Aperture a bit, but I haven’t had a chance to actually use it to process a whole shoot.

Final Cut Studio installed without complaining, and all the applications launch just fine. Aperture complains about the screen resolution but then continues and seems to load alright.

More after the jump…

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HDV error correction

I’ve been helping out on a shoot using our XL-H1s over the past few weeks, and one thing I’ve noticed is that using Sony PR tape stock, we’re seeing roughly one dropout per tape. This isn’t so bad, and we’re recording to harddisk as well, but it has gotten me thinking about HDV dropouts.

In DV, a dropout might mean you lost a few macroblocks scattered throughout the frame (the macroblocks are even laid to tape in a non-sequential order so that you don’t lose a whole chunk of image to a dropout – clever!). In HDV, you lose 15 entire frames. I’m very curious to know whether this is due to technical necessity, or a choice on the part of engineers. It seems to me that if you handled an HDV dropout the same way you handle a DV dropout, the effect would somewhat similar. However, since HDV is interframe within the GOP, you’d end up with a dropout artifact that potentially travelled around the screen for 15 frames. Have they chosen to just not display the whole chunk of frames because it would look worse to display the artifact?

A dropout on an HDV recording will also knock out more picture information (since there’s more picture data per byte) than a similar dropout in DV, but I still can’t grasp why we need to lose a whole 15 frames. Even if the dropout hit on the I-Frame of a GOP, you can still often do a passable job reconstruction a frame using P-frames, especially if you could look back to the previous GOP.

So, I want better error correction in HDV. Make it so.

Got 5.1, yay!

Got my copies of Final Cut Studio 5.1 today. Been poking around a bit and there are definitely some nice things. Compressor in particular seems a bit less weird. I need to play around a bit more to get a sense of what has changed.

Still digging out from being gone for a few days – the sheer excitement of being stranded in a field in Texas with a broken down UHaul has overwhelmed my urge to blog. (It was an interesting weekend)

Wireless Tally Lights

It’s project time! We’re shooting a project right now in which many of the crew end up watching a monitor in a room separate from the shoot. This often means that the crew doesn’t know when tape is rolling and when it’s not. Now, wouldn’t it be convenient if there was a tally light that could be placed anywhere within reason to alert the crew?
Read on…

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Calculating Valid Chroma?

Does anyone have a good method for determining whether chrominance is legal, based on YUV values? I can go with RGB if need be as well. Best I’ve found is that the three RGB channels shouldn’t average to greater than 75% of 255 in 8bit sampling, but I’m not really convinced that’s accurate. Aren’t the values in some way weighted based on the hue?

Arggg…