4:2:2?

egproductions

egproductions

Veteran
can premiere handle 4:2:2 or 4:4:4 when it renders out something is it making into dv? If it cant handle it what programs can?
 
DV can never be 4:2:2 or 4:4:4. If you're rendering to DV, it will always, inherently, inescapably turn to 4:1:1 (or 4:2:0 in PAL).

You'd need to render to an uncompressed codec, or to DVCPRO50 or some other 4:2:2 (or better) codec if you want to retain higher color sampling. But if you are trying to go to DV tape, it will always go down to 4:1:1, that's what DV is.
 
Hey Ellie,

Yes, what Barry said is correct. If you are working within a standard DV NTSC timeline, if you go out to tape from it, it will still be 4:1:1. Anything rendered to the codec will attain the codecs properties.

If you are trying to "bump" up DV footage to a higher format (DVCPro50, etc), then you will want to work in an uncompressed timeline or a timeline that has a base codec that is natively 4:2:2 or above in color compression. Another way its worth it is if you are outputting to DVD ... I use the Nattress chroma upsampler on my XL2 footage in an uncompressed 8-bit 4:2:2 timeline before color correcting, adding effects, and exporting out to .m2v mepg2 with compressor. The resulting DVDs do look cleaner than just compressing out from a DV timeline (considering any extensive color correction was done).

I'm sure Premiere would have similar filters to acheive something similar.

-Mike
 
Yes i know that if you go to dv tape it will bring it back down to 4:1:1, i was thinking more for chroma keying purposes but DVDs is a good point as well mike. I see now that i can set the base codec but obviously i cant go out through firewire anymore, hard to work without a monitor... by the way mike, i fogot to mention i have a bluescreen roll thats about 10 feet wide and the stand to go with it i havent tried an upsampler yet but i do know that 4:1:1 sucks for bluescreening anything realisticly, i thought a 3 chip camera such as the xl2 would actually improve my bluescreening considering it has a very high resalution and seperates RGB but ive gotten just as good shoots with my digital 8.
-Elie
 
Yeah, blu screening in DV 4:1:1 is possible (I've done it before), but extra special attention needs to be taken into consideration in the acquisition phase (particularly very even lighting is needed on the screen itself).

Yes, working in something like an uncompressed timeline will require you to hook up your monitor via some sort of SD capture card like the Decklink for realtime viewing...

3-CCDs definitely increases color clarity and rendition, but if you are acquiring on a format like miniDV, the footage still gets decimated by the chroma resolution loss. :-(
 
Would you need a Matrox card to use the DVCPRO50 codec or does it work right in Premiere. The only DVCPRO25/50 codecs I found were Main Concept ones for windows and you had to pay for them.
 
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