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Old October 7 2009, 01:40 PM   #23
jefferiestubes8
Commodore
 
Location: New York City
Enterprise visual effects season 1 upconverted from standard def.

Mr. Laser Beam wrote: View Post
No, the Enterprise effects were not rendered at 480i. They were done at full HD resolution
trevanian wrote: View Post
How do you get hold of Millimeter magazine? Do you have to have a New York background or something like that?
I've answered trevanian's quote from another subforum here
To tell you the truth I was at a studio yesterday in midtown Manhattan and I saw a current issue sitting with other magazines. It was subscribed to the studio tech guy.
You can read current Millimeter articles here:
http://digitalcontentproducer.com/

Scroll down to the bottom and you can read articles from EVERY issue back to 1997. I just did a quick search for the article with that answer:

Tales from the HD Trenches Mar 1, 2002
scroll down to "Colorist in a Hybrid World"

John Carroll, the show’s online editor at Level 3,
“Our visual effects shots are composited in standard definition and upconverted to 24p at CIS [Hollywood],” says Carroll. “Therefore, our visual-effects team has to be very aware of keeping the 3:2 consistent on their master effects reels. Outside material, such as stock footage, can also be difficult to upconvert and may need several passes through a format converter for varying 3:2 sequences from cut to cut. Aspect ratios may need to be changed, often resulting in the cropping or enlarging of part of the picture. It can be very difficult to blend these in with the rest of the material.”
Visual-effects plates are then downconverted to D1 from the 24p dailies or the master, processed, with effects added, and then upconverted back to 24p, removing the 3:2 and inserted into the show.
and in 2005 they did another article on Enterprise visual effects and the tech specs of the pipeline while shooting on HD video:
The basic pipeline for the show's production has been to transfer the original HDCAM tapes to D5 at Level 3, synch them with the separate DAT sound tracks, downconvert them to Beta SP, and offline each episode in standard-def on an Avid Media Composer (version 11.0.6) system (Meridian platform) at the show's editorial offices at Paramount.
“Then, after the cut is approved, we online tape-to-tape — D5 to HDCAM — and do minor color correction at Level 3,” explains Lauritson. “We cut visual effects shots into the master there after Eden Effects and Technicolor are finished with them. Eventually, we deliver a D5 HD master and a D2 standard-def digital master to UPN.”
Ron Moore, the show's co-visual effects supervisor (along with Art Codron), points out that the show's effects template has been gravitating toward an HD workflow since Enterprise debuted in 2001, long before this season's switch to HD acquisition. That was, in fact, a big reason Curry, Moore, and Codron located the pipeline at major HD-capable facilities in close proximity to each other — Eden Effects, Hollywood, where all CG is created, and across the street at Technicolor Creative Services (formerly Complete Post), Hollywood, where all compositing is performed.
Moore adds that this HD effects pipeline still periodically renders out standard-def elements and then up-rezzes them if a render-intensive shot would threaten the schedule. But, he adds, the need to turn to SD elements became less frequent as the season wore on.
“We get matte shots coming over, and those things can take huge amounts of time to render. Our schedule doesn't always allow for it, but on the other hand, if you don't do it, you can end up with aliasing and various artifacts. Our tests showed us the difference between shots rendered out in HD and those rendered in SD and up-rezzed. So that is one reason we took the show to [Technicolor] — to be in a facility fully equipped to do HD 100 percent of the time. I always ask for HD stuff, and if we run into a render problem, we evaluate it at that time and do what we have to do to make it work in our timeframe.”
Breaking the Comfort Zone
Mar 1, 2005




let me repeat

Moore adds that this HD effects pipeline still periodically renders out standard-def elements and then up-rezzes them if a render-intensive shot would threaten the schedule.
That is season 4 (2004-2005)!

So guys and gals who want to nitpick the HD picture when the Blu-ray comes out in a couple years it will be the matte shots that will most likely show up as low resolution.

Last edited by jefferiestubes8; October 7 2009 at 01:56 PM.
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