Re: [Avid-L2] Convergent Nanoflash experiment

I don't believe there would be any difference. On tape and at 24p, Panasonic encodes not only the original frames, but the 3:2 pull down as well, hence the very limited bitrate of 40Mbps, as noted before.

cheers,
Bogdan Grigoresco
www.finale.tv

--- On Fri, 10/2/09, David Kuther <avidkut@yahoo.com> wrote:

From: David Kuther <avidkut@yahoo.com>
Subject: Re: [Avid-L2] Convergent Nanoflash experiment
To: Avid-L2@yahoogroups.com
Date: Friday, October 2, 2009, 5:57 PM

 

I'm curious how the DVC-PRO would campare to the Nanoflash if you exported the 59.94 clip to After Effects and had AE do the pulldown removal. Unfortunately it would be a cumbersome workflow but it would be itneresting to even see if it looks as good as the Nanoflash. My guess is that it still wouldn't because I'm guessing the inherent compression- scheme of the DVC-PRO tape format is what's causing the difference.

dAvid KutHer

"Science Finds - Industry Applies - Man Conforms." (Chicago World's Fair, 1933)

____________ _________ _________ __

From: Ken Sirulnick <kenavid2@glueedit. com>

To: Avid-L2@yahoogroups .com

Sent: Friday, October 2, 2009 10:36:27 AM

Subject: [Avid-L2] Convergent Nanoflash experiment

RE: 23.98 workflow with Panny 1080i 23.98 footage

These are results of our recent tests with the new Convergent Nanoflash. Client shot HDX900 to DVCPro Tape and also to Convergent Nanoflash. Format was 1080 23.98 w/pulldown. I captured 1080i from tape to Avid Symphony Nitris DX into a 1080i 59.94 project. Placed that into a 1080p 23.98 timeline in 1080p project. Played down fine with no rendering (take that FCP!) Also imported the MXF clip from the Nanoflash which had pulldown removed during record. The Nanoflash clip was much sharper than the clip off tape. I dont know if this is because Avid is removing the PD in the TL or not. I tried setting the Panny 1200a deck to 23/24 frequecy which lets you output 720p footage as 1080p23.97, but it didn't work in this case. Not sure why the Nanoflash clip looked sharper. Maybe something with the way Symphony DX is handling the pulldown in the 23.98 sequence?

KEN

Ken Sirulnick

Glue Editing & Design

601 W26th Street Suite 1760

New York, NY 10001

TEL: 646-619-0190

FAX: 646-638-1897

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