A lot of people have set up their systems to utilize compressor’s Qmaster feature on their own system in order to use all available processor cores when encoding videos.
But what if you have multiple machines with access to file-level shared storage, like XSAN. All client computers can have access and write access to the SAN simultaneously, so how can we utilize this fact to process distributed encoding tasks across multiple computers?
Final Cut Pro composite modes determine how the brightness and color of one clip visually interact with those of another clip layered beneath it in a sequence. When you edit a clip into your sequence, it defaults to the Normal composite mode, meaning that it is a completely opaque layer that does not blend with the layers beneath.
Composite modes mix colors from overlapping images together based on the brightness values within each color channel in an image. Every image consists of red, green, blue, and alpha channels (or one luma and two chroma channels in the case of Y′CBCR component video). Each individual channel contains a range of brightness values that defines the intensity of each pixel in the image that uses some of that color.
The effect that each composite mode has on objects that overlap in the Canvas depends on the range of color values within each object. The red, green, and blue channels (or Y′CBCR channels) within each overlapping pixel are mathematically combined to yield the final image.
In the RGB color model, all three channels contribute to the perception of brightness. In the early 1950s, this was a problem when developing a three-channel color television system that would be compatible with existing black-and-white televisions. The solution was to encode a single channel that represented luminance—light intensity as perceived by humans—which existing black-and-white televisions could decode. Color televisions would receive the same luminance channel and two additional color channels that could be decoded back into RGB color for display.
As posted at http://techcrunch.com/2011/02/22/new-final-cut-pro-is-real-and-its-spectacular-and-its-expected-spring-2011/
According our very own people familiar with the matter, a small group of video editors were on the Apple campus recently in order to preview the new version of video editing software, which is in the same space as Avid and Adobe Premiere. Apparently Apple is still putting the finishing touches on “the biggest overhaul to Final Cut Pro since the original version was created over 10 years ago” and wanted pro user feedback. Emphasis on “pro.”
Meanwhile, everyone is going crazy about the Supermeet reallocated to Apple. And if you missed it too, Scott Simmons rant of a post at Studio Daily.
I believe the new FCP will be the biggest story of NAB, period. Even though I can’t wait to hear what the surprise from RED is… Stop hating on apple and wait to see what we get.
Interlacing is a technique developed for transmitting television signals using limited bandwidth. In an interlaced system, only half the number of horizontal lines for each frame of video are transmitted at a time. Because of the speed of transmission, the afterglow of displays, and the persistence of vision, the viewer perceives each frame in full resolution. All of the analog television standards use interlacing. Digital television standards include both interlaced and noninterlaced varieties. Typically, interlaced signals are generated from interlaced scanning, whereas noninterlaced signals are generated from progressive scanning.