DJ_Izumi wrote:mirkosp wrote:Feel free to compare yourself how having 6 1280x720 (no 1080p editing, this is an AMV site, and aside for ghibli movies and the likes 1080p anime are just upscaled from 720p to begin with) avc clips overlayed on each other on 6 tracks, and then try the same deal with 6 1280x720 utvideo clips (whatever predictor you prefer), then come back here saying that it's just as fast. Really, I wanna see that. Oh, and no cheating. Don't make those avc encodes intra-only or with otherwise editing-optimized settings, that defies the purpose (since it's going to be a valid editing choice anyway, but it's not what you get out of the box with fansubs or BDs).
I think I'll stick with 1080p, you seem a tad ignorant on the issue of 1080p vs 720p. While certianly not all, a lot of anime is natively rendered out at 1080p. Though for there's almost no 1080p broadcast systems, they're generally 720p or 1080i, so most material is broadcast from a 720p source and upscaled to 1080i. So while television ripped fansubs are capped at 720p, the BDrips can be 1080p, assuming they are rendered out at 1080p. It's certianly not absolute though, I mean hey, FMA: Brotherhood was only rendered at 540p for some silly reason. Then there's all that lovely 90's anime that was mastered on 35mm film, those make for beautiful 1080p transfers. Have you checked out the Lain BDs? If it wasn't for the sake that it was 4:3, you'd think it was animated just this year. It's just a glorious transfer.
I'll throw the ignorance right back at you: while a lot of shows are surely rendered at 1080p, the actual drawings and effects are most often than not still just 720p or so. The 1080p things are limited to text and some specific graphic elements most of the time. See for example baka to test, which is 720p most of the time, but some graphical elements and text (for example, in a few eps a little demon version of the protagonist with some text shows up in the bottom of the picture) are 1080p. Hardly a reason to actually do 1080p. Same reasoning can be done for most other shows, you can do comparisons. I would rather not be using the odd one-offs examples such as the work on the Lain BDs (which iirc involved actually completely redoing the CG as well) as the main example to go by for a standard procedure.
And so, when you have sub-1080p material, what are you going to do? Keep the upscale and waste space? Resize with premiere's resizer and thus losing on better resizing algorithms and possibly having to manually correct the gamma too?
Anyway, here you go, this is using Coalgirl's 1080p Blu-Ray of Kanon, the streams were pulled out of the MKVs without any modification, so this is pretty representive of 'any ol' fansub' since it is just that, any ol' fansub. The top five layers are at 15% opacity while the bottom is at 100%, to ensure all six streams need to be rendered simultaniously. There's a 98% CPU spike that you can see the moment I press play on my preview, but it drops and then playback continues with an average of 50%. This is probably it trying to quickly find the last I frame before the start points so it can deliver the first request frame on each track. Though you can see that through the graph yourself.
http://i254.photobucket.com/albums/hh10 ... /AVCx6.jpg
I would not consider Bloatgirl's unreasonable encoding settings as a standard fansub nor a good encode, and kanon is most certainly one of the shows which are 720p. You didn't provide a comparison with utvideo either, how does it fare? I didn't say that you cannoy get acceptable results with some avc stuff, but that utvideo is gonna be a better choice anyway. Notice how some is italic.
mirkosp wrote:And by the way, industry standard is editing with ProRes, so we're talking 10bit 4:2:2, really.
Pro-Res isn't used by any cameras however, so to say it's industry standard' for editing is kinda... Wrong. You're gonna edit AVCHD with pro-sumer cameras. NXCAM on low range professional cameras ($5000~) NXCAM is still 4:2:0 AVC, just in a much more flexable standard. XDCAM, MPEG-2 4:2:2, which you'll see in cameras in a 20k-35k range. You're also forgetting DNxHD, which is stock standard on Avid platforms. While Adobe is pro and Apple was once pro, Avid's stuff is still considdered top tier. I've used ProRes though, but only when capturing from an AJA IOHD box. Fun box to play with, BTW. ProRes is most often used for offline proxies, which you'd use since directly editing something like REDCODE RAW would be exceptionally demanding, but just about every camera below the cinema level uses formats that you can edit directly on any decent box.
Yeah I admit, I stretched it a bit, but you can't say I'm completely wrong either. It largely depends on the setup and who does what, but I've been confirmed that one of the standard procedures which can be used involves converting to prores before editing, so you can't say just anybody does direct editing. Also, the codecs you list aren't quite the same thing as BD AVC or standard fansub encodes, as they are generally higher bitrate and actually thought to be somewhat usable even in case of direct editing.