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We aren't talking 4 pixel hits with the f27 boyo....
The entire forehead of a lead actress turned into a flat wash that jiggles and shakes as the compression does it's dirty deed
Think AVR3 perhaps
My grannie would spot that even thorough catracts
But as to the question on the table.... i think they feed them to much coffee
Ta,
d.
On Aug 3, 2005, at 2:02 AM, Tony Quinsee-Jover wrote:
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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