Posts Tagged ‘compression’

Fix It In Post available for pre-order…

Fix It In Post coverMy latest book, “Fix It In Post” is available for pre-order now on Amazon.

Thanks to everyone who let me pick their brains over the course of the last few months.

The blurb:

“Finally!  A well-written software agnostic guide to fixing common problems in post ranging from shaky camera to film look!”

—Jerry Hofmann, Apple Certified Trainer; FCP Forum Leader, Creative Cow; Owner, JLH Productions

Fix It In Post provides an array of concise solutions to the wide variety of problems encountered in the post process. With an application-agnostic approach, it gives proven, step-by-step methods to solving the most frequent postproduction problems. Also included is access to a free companion website, featuring application-specific resolutions to the problems presented, with fixes for working in Apple’s Final Cut Studio suite, Avid’s Media Composer, Adobe Premiere Pro, as well as other applications.

Solutions are provided for common audio, video, digital, editorial, color, timing and compositing problems, such as, but not limited to:
* automated dialogue recording, adjusting sync, and creating surround sound
* turning SD into HD (and vice-versa) and restoration of damaged film and video
* removing duplicate frames, reducing noise, and anti-aliasing
* maintaining continuity, creating customized transitions, and troubleshooting timecodes
* removing vignettes, color casts, and lens flare
* speeding shots up, slowing shots down, and getting great-looking timelapse shots
* turning day into night, replacing skies and logos and changing camera motion

Fix It in Post: Solutions for Postproduction Problems

FixMyMovie Offers Free Digital Video Processing of H.264…

Website-based tool FixMyMovie… has added H.264 format support to it’s line of video processing capabilities:

News organizations can now upload video obtained from users through their mobile phones, enhance the quality automatically and add that video directly into their news editing without transcoding. Through, it is also possible to download the processed results as high-res H.264, high-res WMV, or even high-res JPEGs for printing – ideal for newspapers and magazines.

Certainly this service could be useful for anyone working with low-rez digital video, but it may have other applications too. The processing works by averaging non-moving regions of video, thus reducing the apparent noise.

Posted: December 12th, 2007
Categories: Tools
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Get DivX Pro for Free…

For a limited time, you can get the pro version of the popular DivX codec for free…

Posted: December 12th, 2007
Categories: Tools
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Panasonic’s AVC-intra codec…

I’ve been hearing a lot about Panasonic’s new AVC-intra codec lately. It promises to deliver pro-quality HD at smaller file sizes, and uses intra-frame compression (as opposed to inter-frame compression formats such as MPEG-4).
Here are my thoughts on the subject. The intra-frame compression is a definite plus. Whilst working with MPEG-4 compressed footage on The Toilet Guy…, within about 6 months, the files (stored on removable hard disks) had suffered severe corruption. It wasn’t just one or two frames that were affected, it was several seconds. And in some cases the problems weren’t immediately visible, there were sync problems and dropped frames, spurious freeze frames and so on. Not good at all. But even in those cases, there was always the original camera tape to fall back on (way more robust in the long-term). Now Panasonic has been pushing for a tapeless workflow for a long time, but this format is the first instance where they seem to be thinking seriously about the challenges involved in doing so.

There are still other issues to address, such as image quality. I’ve heard that some test footage shot with the HPX3000 camera is looking pretty good. It’s still shy of the Viper camera though, there is no talk about log colour space for example, and it’s got 4:2:2 compression in addition to the H.264 compression as part of the format. The AVC-intra 100 format will also record the full 1920×1080 progressive frame, so you would expect that the resolution is good. All in all, the format has a data-rate of 1GB/min (or 60GB/hour if you prefer).

That’s very reasonable, until you realise you have to store it all on Panasonic’s crappy P2 cards (at least for the duration of the recording).  When I say “crappy”, I mean expensive and small. A single 16GB card will set you back $1000. Yes they are solid state, and they are reusable, but there is no way you will be using them like camera mags, shooting and shelving them, unless you’ve really got a disposable budget* (think about it, that’s $60 per minute of rushes), and even then, there are better ways to protect your data.

You can daisy-chain up to 5 of them together, which will give you up to 80 minutes of sustained shooting. But at some point you’ll have to give them to someone to plug into a laptop and copy onto long-term storage. So in reality, the 10 or so P2 cards you buy are just glorified buffers between the camera and the hard disk.

So the question for me is, if you’re copying them to hard disk (or data tape) anyway, why not uncompress it to a frame-based format such as DPX or Tiff, given that you’re probably going to have to do this at some point to do a DI or online? As of yet, there is no professional grading system that will conform from AVC-intra files as far as I’m aware, and certainly no reliable way to batch convert select frames from movie files by EDL. And if you’re converting to a frame-based format, then ultimately what advantage does AVC-intra offer over any other compression format?

Now I realised I’ve presented a somewhat twisted argument here. Ideally what I’d like to know is how robust the format is if you keep it in its native format for as long as possible. There would be definite advantages to doing so, not least the savings in storage and bandwidth, but would there ultimately be more headaches in the long-run? After all the DPX/Viper workflow of having uncompressed, single-frame files, though not perfect, is a proven one. Can the same be said for AVC-intra?

*Having said that, I have heard of some productions who are doing just that, rationalizing that the cost is comparable to film stock+processing.

Posted: November 7th, 2007
Categories: Opinion
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Comments: 4 comments