Seth,
If it's HD delivery, we tend to play out to another system an capture. That way we run it through a hardware legalizer, can watch it on a real scope, and avoid any weird 709/RGB issues. It goes in real time, which may or may not be slower. And then it needs to be exported from the other NLE which is usually fairly fast. But we have the confidence that it is right, At some point, Cinedeck will make financial sense for us.
If it's greater than HD, the question of what's legal gets blurry. It's sort of the wild west right now. In Avid land the only option is to make the Safe Color effect work.
---In Avid-L2@yahoogroups.com, <seth_buncher@...> wrote :
Warmly on a warm day,
---In Avid-L2@yahoogroups.com, <seth_buncher@...> wrote :
Hi John,
The better question might be, "Why do it?"
IIRC, you and I both do long-form finishing, mostly for broadcast. I've submitted hundreds of shows to virtually every QC joint in North America and they've never failed a show for illegal color. I never, ever use the 4:2:2 Safe option. I'd be curious what other finishers think, like Ken S. or Terence C., but I think 4:2:2 Safe is a waste of time and storage.
Seth
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Posted by: tcurren@aol.com
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this is the Avid-L2
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