Quote:
Originally Posted by BmacSWA
AJA Kona LHe+ [...] does clean up the capture a bit, but is still no replacement for a quality VCR and TBC, which you'll still need in the flow.
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I don't think it does much at all to "fix" anything, though I haven't extensively tested it in an effort to find out.
I agree that, especially for home videos and other non-retail/broadcast sources, external timebase correction to send a good, clean signal is necessary.
Quote:
Originally Posted by BmacSWA
The 10 bit raw capture files are ENORMOUS as I expected
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I encourage comparing the same capture in 8-bit versus 10-bit to be certain you see a visual improvement in the 10-bit captures before committing to do everything in 10-bit.
Quote:
Originally Posted by BmacSWA
1) can these [.MOV] files be run through VirtualDub with an AVSpmod script to deinterlace and convert to 60fps then edit in FCPX just as the Huffy 2.1.1 captures could?
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I recently read someone state that they were deinterlacing 10-bit with QTGMC in Hybrid with no issues. Can't remember if format/codec specs were provided for that, and I haven't tried it with any 10-bit files myself. If uncompressed 10-bit .MOV isn't supported, try DNxHD and ProRes422HQ (both in 10-bit).
I'd again encourage comparing the same capture with each codec you're considering, and look for any quality improvement or loss.
As you said, this is also involved in your 2nd question:
Quote:
Originally Posted by BmacSWA
2) What format should I convert the 10 bit captures to in order to archive them as I kept the Huffy 2.1.1 captures as an archive before.
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In my opinion the most common codec options in Control Panel/Room like ProRes and DNx variations will be fine to keep for a long time since they're so popular. Not sure about DPX, though I've seen it touted as a great archive choice.
I say the 1st question is related to this question because I'd prefer to capture lossless uncompressed in .MOV, and either deinterlace via QTGMC and then archive, or if you prefer, archive without deinterlacing.
That's also why I say to compare captures with the different codecs you're considering, as maybe ProRes422HQ or DNxHD are a better choice for you if it is visually indistinguishable to you versus lossless uncompressed but works better for your workflow going into an editor and then archiving without forcing any additional lossy changes to the file. I'd rather capture in the highest-quality format that can go straight through the workflow from there, e.g. deinterlace --> edit --> archive without changing file/codec type.