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Hi all,
Here's something I've often wondered about. How do these QC houses
get to actually spot the one 4 pixel block of digital dropout on a single
frame in a 1 hour documentary? Or the compression artifacts that
can 'just' be seen one one particular shot?
Do they have incredibly sharpened visual perception, or is there some
software that does this for them?
Cheers,
Tone :)
At 03:16 03/08/2005, Dermot wrote:
The other caveat
is compression artifacting can be exceptionally brutal when you start
colortiming the footage if the camera has been set up to record the
widest dynamic range possible
I would
certainly endorse Graham's workflow, and would use it again if i was to
ever work with the f27 again... but as the images are such unmitigated
crap i would rather be the one drinking a cold one at the beach than the
one fighting through damage control with 1000's of rejection notes
from a QC house due to compression artifacting......
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