How to create Smart Objects in Photoshop:
Right-Click onto a Layer into the Layer window, Select: Convert to Smart Object.
Any Filter applied to the Smart Object Layer is added as an Effect and can be turned on/off.
Yeah! This saves me having to duplicate Layers ad-finitum just in case something goes wrong...
Save file as Tiff with layers, it will relink into FCP, with the Effect(s) turned on/off reflecting the status in Photoshop. Combined with a set of actions, that can be a fast way to automate stills treatment. Non-permanent, very useful.
Tuesday, May 21, 2013
Thursday, May 16, 2013
DVD StudioPro Multi-Angle requirements
- DVD SP has specific requirements for the prep of Multi-Angle tracks:
Mpeg-2 assets must have the same length and the same frame rate.
From the DVDSP User Manual:
Mpeg-2 assets must have the same length and the same frame rate.
From the DVDSP User Manual:
Requirements for MPEG Streams in Multi- and Mixed-Angle Video
The integrated MPEG encoder produces streams that meet the criteria for multi- and mixed-angle use:
With multi-angle tracks, all streams must be the same length. With mixed-angle tracks, all alternate streams in each mixed-angle section must be the same length.
All streams must have the same resolution and frame rate. The length and pattern of GOPs (Group of Pictures) must be the same for all streams (angles). If you are not using the integrated MPEG encoder, use an encoder that allows you to turn scene detection off.
All GOPs should be closed. You will not be able to cleanly switch between the streams if you use open GOPs
- In addition, the DVD specs stipulate a max bitate of 8Mbit/s per angle:
https://en.wikipedia.org/wiki/DVD-Video
All streams must have the same resolution and frame rate. The length and pattern of GOPs (Group of Pictures) must be the same for all streams (angles). If you are not using the integrated MPEG encoder, use an encoder that allows you to turn scene detection off.
All GOPs should be closed. You will not be able to cleanly switch between the streams if you use open GOPs
- In addition, the DVD specs stipulate a max bitate of 8Mbit/s per angle:
https://en.wikipedia.org/wiki/DVD-Video
Friday, May 10, 2013
DVD StudioPro palette elements "Relink"
I have all my content libraries (DVD SP, Motion, LiveType, Soundtrack) onto a second drive, so the normal location on my system drive (/Library/Application Support/Final Cut Studio/DVD Studio Pro) is empty. DVDSP did not load any element but a few default items in the palette widow at first.
To populate the palette window, go to: DVDSP/Preferences/Destinations/
In the "Show" pull-down menu, select: Palette Elements.
In the "Stock" path windows, click choose and select the path to your DVD Studio Pro library.
Click Apply.
To populate the palette window, go to: DVDSP/Preferences/Destinations/
In the "Show" pull-down menu, select: Palette Elements.
In the "Stock" path windows, click choose and select the path to your DVD Studio Pro library.
Click Apply.
The palette will populate, except for the Shape window.
That's OK, restart DVD SP, and voilà... even the Shape window is properly populated.
Sunday, April 28, 2013
Codecs and Bit Depth (as a reminder)
COLOR SCIENCE
RGB Codecs sample each base color, with no Chroma subsampling.
Ex. ProRes4444, HDCAM SR Dual Link.
---
4.4.4 use uncompressed Chroma subsampling
Reduced Chroma subsampling makes smaller file sizes = More storage efficiency, but creates image artifacts (halo, color bleeding/smudging on edges.)
BIT DEPTH
---
8 bit Codecs are 24 bits image files.
RGB 8 bits for each base color, intensity range: [0-255].
A pixel that's [0,0,0] is black, a pixel that's [255, 255, 255] is white.
Y',Cb,Cr has a different intensity range [16-235] to allow for super white/black.
Limited range problematic especially for gradients (stepping.)
Ex. 8 bit Codecs:
Uncompressed 8bit, HDV, DBeta, ProResProxy, DV, DVCPro, DVCam, Mpeg2.
---
10 bit Codecs are 32 bits image files = 10 bits for each base color (RGB) +2 spare bits. Intensity range: [0-1023]
Ex. 10bit Codecs:
Uncompressed 10bit, ProRes4444, ProResHQ, ProRes422, ProResLT, AVC-Intra 100, Canon MXF422.
---
10 bit LOG (Cineon, DPX) is equivalent to 12 bit Linear, but values are Log-curve compressed to match the film emulsion sensitivity to light which is logarithmic. This allows for a wider dynamic range by rolling-off the highlights that would be otherwise clipped in 8, 10, even 16 bit linear capture. Film print density range higher than 1080 values
Intensity range: [0-?] for each color. (Eq. 12 ƒ-stops.) Ex. Film scans.
---
---
16 bit Codec are 48 bits image files.
Intensity range: [0-65535] for each color.
---
Floating point is only for processing images, not storage. Better, more precise maths for calculation = higher quality results. Intensity range: [?-?] (Eq. 25 ƒ-stops.)
---
ACES "unlimited" (Eq. 30 ƒ-stops.)
RGB Codecs sample each base color, with no Chroma subsampling.
Ex. ProRes4444, HDCAM SR Dual Link.
---
Y'CbCr Codecs use Luma sampling + Chroma subsampling.
Vertical and Horizontal resolution is indicated by the last two numerals:
4.4.4 use uncompressed Chroma subsampling
4.2.2 use compressed, (1/2 vertical and 1/2 horizontal resolution) Chroma subsampling (Ex. ProResHQ, ProRes422, ProResLT, ProResProxy, ACV-Intra 100, XDCam422, Canon MXF422, DVCProHD and DVCPro50, DBeta)
Prosumer also use 4.2.0 (HDV, AVCHD, AVC-Intra 50, DVCam PAL, Mpeg2-DVD) or 4.1.1 variants (DV, DVCPro, DVCam NTSC)
Reduced Chroma subsampling makes smaller file sizes = More storage efficiency, but creates image artifacts (halo, color bleeding/smudging on edges.)
BIT DEPTH
---
8 bit Codecs are 24 bits image files.
RGB 8 bits for each base color, intensity range: [0-255].
A pixel that's [0,0,0] is black, a pixel that's [255, 255, 255] is white.
Y',Cb,Cr has a different intensity range [16-235] to allow for super white/black.
Limited range problematic especially for gradients (stepping.)
Ex. 8 bit Codecs:
Uncompressed 8bit, HDV, DBeta, ProResProxy, DV, DVCPro, DVCam, Mpeg2.
---
10 bit Codecs are 32 bits image files = 10 bits for each base color (RGB) +2 spare bits. Intensity range: [0-1023]
Y',Cb,Cr has a different intensity range [64-940] to allow for super white/black.
Uncompressed 10bit, ProRes4444, ProResHQ, ProRes422, ProResLT, AVC-Intra 100, Canon MXF422.
---
10 bit LOG (Cineon, DPX) is equivalent to 12 bit Linear, but values are Log-curve compressed to match the film emulsion sensitivity to light which is logarithmic. This allows for a wider dynamic range by rolling-off the highlights that would be otherwise clipped in 8, 10, even 16 bit linear capture. Film print density range higher than 1080 values
Intensity range: [0-?] for each color. (Eq. 12 ƒ-stops.) Ex. Film scans.
---
12 bit Codecs
Intensity range: [0-?] for each color. Ex. RED One.
---
16 bit Codec are 48 bits image files.
Intensity range: [0-65535] for each color.
---
Floating point is only for processing images, not storage. Better, more precise maths for calculation = higher quality results. Intensity range: [?-?] (Eq. 25 ƒ-stops.)
---
ACES "unlimited" (Eq. 30 ƒ-stops.)
Tuesday, April 23, 2013
Canon 5D MarkIII funky TimeCode
I believe the Canon 5D MarkIII has a funky TimeCode track, which wreaks havoc in FCP7 Log & Capture. L&C wrongly shows clips with a duration of 23h+, or does not transcode some clips, what the heck?
Some people use an 3rd party app to convert the h264 to ProRes. But some apps loose TC (Compressor, Mpeg Streamclip), read it wrong (Brorsoft Video Converter), or have the user insert TC by hand (Grinder). I don't like it. 5DtoRgb works fine, but for an online/offline workflow, multicam situation, a 3rd party app is not ideal - I prefer Log&Transfer and to stay within FCP.
After reading Oliver Peters' blog I had the idea that Canon's TC track was to blame.
http://digitalfilms.wordpress.com/2010/10/09/easy-canon-5d-post-–-round-iii/
So I made a copy of the files, ran them through VideoToolShed's QTChange and the Refresh TC Track tool. http://www.videotoolshed.com/product/42/qtchange
Bingo! The new set of file is perfectly recognized and transfers smoothly with Log&Capture, including TC. Thank you Oliver, thank you Bouke.
Some people use an 3rd party app to convert the h264 to ProRes. But some apps loose TC (Compressor, Mpeg Streamclip), read it wrong (Brorsoft Video Converter), or have the user insert TC by hand (Grinder). I don't like it. 5DtoRgb works fine, but for an online/offline workflow, multicam situation, a 3rd party app is not ideal - I prefer Log&Transfer and to stay within FCP.
After reading Oliver Peters' blog I had the idea that Canon's TC track was to blame.
http://digitalfilms.wordpress.com/2010/10/09/easy-canon-5d-post-–-round-iii/
So I made a copy of the files, ran them through VideoToolShed's QTChange and the Refresh TC Track tool. http://www.videotoolshed.com/product/42/qtchange
Bingo! The new set of file is perfectly recognized and transfers smoothly with Log&Capture, including TC. Thank you Oliver, thank you Bouke.
Monday, March 25, 2013
Panasonic AF100 Post
Macs can read SD cards, so no driver required. Same as with P2 cards.
This camera uses AVCHD, so it's already populated by default in the FCP7 Log & Transfer.
Panasonic white paper here:
ftp://ftp.panasonic.com/pub/panasonic/Drivers/PBTS/papers/Editing%20AVCHD%20with%20Final%20Cut%20Pro%207.pdf
I prefer ProRes 422. But I'll use LT for some projects. Or Proxy for offline/online.
This camera uses AVCHD, so it's already populated by default in the FCP7 Log & Transfer.
Panasonic white paper here:
ftp://ftp.panasonic.com/pub/panasonic/Drivers/PBTS/papers/Editing%20AVCHD%20with%20Final%20Cut%20Pro%207.pdf
I prefer ProRes 422. But I'll use LT for some projects. Or Proxy for offline/online.
Sony EX3, EX1 XDCAM Post
Sony software for working with XDCAM footage:
https://www.servicesplus.sel.sony.com/sony-software.aspx
You need to create a pro account in order to download some of it. There are plug-ins for Avid and FCP7 (via Log&Transfer), a clip browser and a SXS card driver.
Someone had listed the steps on his own blog/website (links do not work anymore though, so go direct to Sony Service Plus link above.)
http://www.pauljoy.com/2009/03/2230/
https://www.servicesplus.sel.sony.com/sony-software.aspx
You need to create a pro account in order to download some of it. There are plug-ins for Avid and FCP7 (via Log&Transfer), a clip browser and a SXS card driver.
Someone had listed the steps on his own blog/website (links do not work anymore though, so go direct to Sony Service Plus link above.)
http://www.pauljoy.com/2009/03/2230/
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