Newman's announcement on new Cineform feature for 24p/25p extract from HDMI or HDSDI

Emanuel said:
What's your bet on the HV20 HDMI option?

Good 4:2:2 files quality?

Or can a heavily processed signal be a hassle?
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If you are discussing whether the camera will have pre-compressed data over the HDMI, that is almost a certainty. Running an MPEG encode and then an MPEG decode is a waste of battery life. What is less obvious is whether the HDMI feed is based on a demosaiced 1920x1080 4:2:2 image or a scaled 1440x1080 4:2:2 image (like Sony V1, which scales 1440x1080 back to 1920x1080 for HDMI output.) Either will be nice. The camera will have heavily processing the RAW sensor data to generate a nice 8-bit 4:2:2 image, so this will not give you the dynamic range/latitude of a true RAW camera (but this is only $1k.) It will produce the best 24p for the price ;)
 
When you mean "pre-compressed data", what do you mean? Uncompressed in order to go to a better codec even compressed but clean enough like yours? Or strongly commited to a weak result? That is, slightly better than HDV?

Or a true HD broadcast outcome? Is it possible to get the same likely from a G1's HD-SDI port, for example?
 
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Gordon,

I'm not sure understand your question. HDMI and HDSDI can carry the same data, one is not automatically superior to the other. Directly recording from the G1 (like the H1) over HDSDI is something we sell Wafian HR-1s (CineForm compressed DDRs) into film markets, so this is not just mildly better than HDV type solution (that is a $17k product.) Blackmagic with the Intensity card as simply brought down the price of entry to uncompressed or lightly compressed capture. Now HDMI is not yet fitted to cameras as high quality as many with HDSDI, but this is going to change, HDMI is simple to implement and it is very inexpensive to monitor, I believe we will see it on high end cameras soon.
 
Actually, I have two doubts:


1)

Is the HV20's HDMI acquisition more than slightly better (if compared with the HDV) ?
I mean a true HD broadcast solution?
(HDV is not, unless for downrez SD purposes)

Does pre-compressed mean a chance to go (artifacts free)?


2)

HDMI vs HDSDI. What's the best? Same quality?

Even if coming from the HV20 vs G1?



Of course, for both cases, I'm speaking if we'll go with a good quality codec like yours.



Emanuel said:
http://www.reduser.net/forum/showthread.php?t=463&page=2
...and next pages.
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I've been reading those pages and links there, where's a lot of contradictory (and confused) information out there. Succeeding quite different opinions on the same subject. What's yours Mr. Newman?
 
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1) Yes, pre-compression means no compression artifacts. The single CMOS design will actually make HDV compression work harder, so it would likely have more MPEG artifacts than a G1/H1. So the HMDI out will be significantly better, at least in terms of compression artifacts.

2) Same quality if coming from the same camera, HDSDI and HDMI can be interchangable.

3) Of course a camera is more than its compression, so HV20 via HMDI will likely not match a G1 to HDV tape for many applications, but we will have to wait and see to be sure.
 
David Newman said:
3) Of course a camera is more than its compression, so HV20 via HMDI will likely not match a G1 to HDV tape for many applications, but we will have to wait and see to be sure.
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Well that sucks! Man I hope you are wrong. I might as well buy a A1 if straight to tape will be better than uncompressed from a HV20. I expected you to say it will be better than a G1 to tape but maybe not as good as a G1 uncompressed because of the lens quality build.
 
Is it true that capturing via HDMI does not carry any audio signal?
Is the signal form HDSDI a more robust signal than that of HDMI?/ what iam really saying is can HDMI COMPETE WITH HDSDI in terms of quality of signal?

And why the hell did canon not add HDMI to the A1?
Also What benifit would i get if i was using Cineform Prospect instead of Cineform Aspect for HDMI capture and editing?
 
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Darkeyes...,

Prospect HD offers a 10-bit post workflow whereas Aspect HD offers an 8-bit workflow. For projects with heavy color correction or compositing, 10-bit precision offers a reduction in banding that can become apparent with 8-bit color correction. This is especially apparent on smooth gradients (blue skies, animation), Also, Prospect HD supports the Premiere Pro floating-point modes for additional precision on all interim calcuations.

Prospect HD also supports HD-SDI for workflows that prefer ingest or timeline monitoring using this format.

Prospect HD also supports a full-raster 1920 render mode while Aspect HD is targeted more for HDV source which is limited to 1440 by the camera manufacturers.

David.
 
ironically one of the few laptop capture systems is at a lower level price tag is from
reel stream but only when using there system.
 
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