[Tig] Re: Telecine output
Sat Apr 20 00:48:51 BST 2002
Compositor replying here ... I have done 4:4:4 transfers direct from Ursa to Flame disk array to get maximum quality.
This was a few years ago and one problem was that we lost timecode during this process so had to eye match the clips
in Flame, to the offline which was a bit of a drag.
We also did the same process through Digi Beta as usual and could therefore compare the Digi Beta output with the
direct 4:4:4. We found that there was a difference but that it was extremely subtle - quite minimal. We were doing
bluescreen composites so artifacting in the foreground sequences was a potential problem that we hoped 4:4:4 would go
some way to solving.
As I mentioned, the differences were so minimal as to be not really worth the trouble. I am assuming that your NLE is
an 8 bit linear colourspace and the fact that the footage has never been through the Digi Beta 2:1 compression and
4:2:2 would not give you the full dynamic range that was available on the negative. Sorry if this sounds insultingly
That is a current techniques answer. What i think is pretty exciting is that datacines can transfer 10 bit log to disk
and that will give you / us the entire dynamic range of the negative to play with in post - we can maintain that range
into the compositing stage. I think that's what you might have been pointing to with your comment about compositing
being done with full colour sampling.
tig-request at tig.alegria.com wrote:
> Message: 13
> Date: Fri, 19 Apr 2002 00:00:33 -0400
> From: Steven Gladstone <veenotph at earthlink.net>
> Organization: Gladstone Films
> CC: tig at emsh.calarts.edu
> Subject: [Tig] Telecine Output
> Cinematographer here, so please forgive if this is a non answereable
> question. My understanding (which could be flawed), is that the Telecine
> equiped with say a DaVincci 8:8:8 (could be other color correctors as
> well I imagine), can output Standard def NTSC at 4:4:4 (or better? What
> is 8:8:8?, I feel I understand 4:4:4). So it can output 525 lines of
> resolution at full color sampling in real time, and that when going to
> tape (Digi Beta for example) the tape deck compresses the color sample
> ratio to 4:2:2 and introduces a 2:1 compression. Or is it the Telecine
> that converts to 4:2:2 and adds 2:1 compression.
> Here is why I ask. When transferring to Video, I can't afford a 2K
> transfer, but as I have a N.L.E. and Digital Fusion, I could convert
> Computer files to NTSC at home using my N.L.E., so If I could get the
> Standard def files of 4:4:4 to my system (portable hard disk array), any
> compositing could be done with full color sampling, and all the footage
> could stay in 4:4:4 through editing and compositing (and final color
> tweak), until I'm ready to lay it off to tape.
> This way I avoid having to edit, and composite with compressed images,
> plus I get REAL time color correction, and the Colorists input and work
> is maintained all the way through. Granted it is standard def and not
> Higher res, but still it would be 4:4:4, and real time. So I ask you is
> such a thing possible today?
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