Dv25 411 Vs Omf1:1?

dory_breaux

dory_breaux

Todd Wannabe
All I can figure out is that OMF 1:1 takes up a hell of alot more space and doesnt have the scene extract function. Whats the technical differences?
 
Dv25 411 is an exact copy of your footage from tape, same compression and color space (4:1:1). OMF 1:1 is uncompressed. (almost 100% sure on that)
 
That makes sens... so, if I'm going to be doing extensive CC or VFX that would prolly be the best way to capture?
 
Would it make much of a difference? Capturing at 1:1 wouldn't uncompress the DV25 footage that is already on your tape, can it? You shouldn't be able to get a higher compression ratio than what your acquisition format is, correct? So DV25 would be the same.

But maybe I'm missing something.
 
If your project is set to DV then any graphics you create or import will be compressed to DV resolution. If the project is straight cuts then it makes sense to work at DV res because there's little to gain from working at 1:1. But if the project involves heavy graphics, compositing and CC, you're better off working at 1:1 to reduce the recompression.
 
Heres another one, if I'm shooting 24pA with teh DVX, I wanna edit in 23.976p, not 24p right? In the framerate settings in the New Project thingy.
 
It is a 23.976 NTSC project. Although the camera menu says 24p, it really is shooting 23.976. AS far as scene extraction goes, if you select scene extraction during capture, it does not matter what resolution you capture - it is only after the fact that it works fornative DV material only.

Michael
 
1:1 is for sources not brought in as a clone via firewire.
I hardly ever use it anymore. ;)
I do shoot some chroma key stuff sometimes tho and in HDV mode, I'll be danged if it doesn't make a difference.
 
In my case the feature is finished as a 1080p/23.976 master with surround, and stereo tracks on A1-A8. A9-A12 carry the M&E tracks. I also have a DCDM (the encoded package for digital cinema meeting DCI specifications) and I have RGB DPX files (with proper LUT conversion from REC709) in the case of a film out. I am not undertaking the film out at this time and will leave that up to the distributor due to costs. I also have a spot dialog list which is basically a list of who said what when with both timecode, frames, and footage counts to meet a potential foreign delivery requirements.

Other than the color correction which I had a colorist do for me on the RGB files on a dedicated DI system in a theater, everything was done on an Avid Media Composer and Pro Tools (some VFX shots were done in After Effects). I used paint, animatte, fluidmotion, resize, Looks, title tool.


Michael
 
justmarvin said:
Just curious, is the final output for your project going to be transferred to film?

JM
Click to expand...

Nope, good old SD DVD, TV broadcast and web :D.

Michale:

Thanks for that breakdown man that actually answered a few questions.

I see that MC2.8 (again, my school hooked me up. all I did was ASK them to get me the non-academic version and they said "sure it'll be there in a few days :-O) has gone to using MXF instead of OMF... why the switch?

Thanks again,
Dory
 
Standard Definition can be OMF or MXF. HD is MXF only. MXF is an industry standard for wrapping metadata arournce codecs. For example, the P2 camera records the same MXF as Avid, etc.

Michael
 
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