-
XDCAM workflow
when editing a project that is shot XDCAM 1080 25p
what would be the workflow?1_ do I need to work in proress 422?
2_ when and how do I do that? since I am not capturing but transferring the media from an SXS card
3_ how do I get back from Proress to native format?
3_what about grading and chromakey? do I do that while still in Proress or after going back to the native format?thanks
-
20 Replies
-
Hi Tel,
I work native XDCAM without problem. Chroma key works great.
I only go to ProRess when rendering.
In my case ther is no point to going back to XDCAM .
If you do so you will lose part of the quality that you get rendering to ProRess. Also the rendering back to XDCAM is killing slow.
Rafa -
[Rafael Amador] “I work native XDCAM without problem. Chroma key works great. “
Are you talking about the BluRay disc pro XDCAM-HD format or are you talking about the EX-1 and EX-3 versions? We used the EX-3 for a recent shoot and the Chroma Keying was horrendous.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
-
Contrary to Walters experience, we’ve had zero problems with keying the EX3 and there are lots of great examples of how well the EX3 keys if you look hard enough on the web. You just have to shoot progressive and make sure that detail isn’t turned on.
As Rafael said, stay XDCam EX format for the keying but set your render codec to ProRes
Steve Connor
Adrenalin TelevisionHave you tried “Search Posts”? Enlightenment may be there.
-
thanks a lot guys
I worked on different Green screen shots today and they look fine, i didn’t have a problem, I wonder what kind of problems you had Walter!!
we are shooting XDCAM1080p 25so basically i can transfere the media, import to FCP and just set the settings in the sequence settings into ProRess? that’s all?
i tried that when working with the chromakey and for the native format the FCP needed 3 hours while the proress needed 1 hour, which is big difference
so if ProRess looks nicer than the native XDCAM, why would I need to export in native format?
-
[tel jaba] ” I wonder what kind of problems you had Walter!! “
Pixel city. Terrible blockiness with the image. Might have been the DP’s settings on the camera, but I won’t work with EX3 footage anymore if we can help it.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
-
Hi Walter,
I had the same positive experience keying the EX-1 footage.
I thought to use Shake or AE, but the FC’s CK made a perfect job
If you had any “blockyness” problem, try dropping a Chroma Smoothing filter before keying. I didn’t need it.
Before rendering, set “Render in High Precission” and change the sequence codec to Proress. Never render back to XDCAM.
Rafa -
and to answer my questions guys?!!!
😉
any idea? -
Hi Tel,
Unless you need to go back to a XDCAM disc or you need to deliver in MPG-2 or so, there is no point to go back to XDCAM.
Is not only that takes longer, also it can never holds the quality of ProRess.
EX-1 is 420/8b, when Proress is 422/10b.
Normally i edit in a EX-1 sequence and before exporting I change the sequence codec to Proress.
Also set “Render all YUV material in High Precision”.
rafael -
There is also a setting in Sequence Settings under the Render Control tab for rendering all XDCAM footage as ProRes. This allows you to work in native XDCAM but render effects and transitions as ProRes.
-
Walter,
I would like to know how you “shot” the footage… what kind of lights, how they were set up, the camera settings, etc.
THEN: I’d like to know how you cut the material, and how you tried to key it out! (i.e. FCP, Avid, Premiere, After Effects, Vegas, what?)
I have TONS of experience in chroma keying footage, and got the same results I would from ANY high end camera (for use on TV, not film) out of the EX cameras.
I would say 90% of keying is LIGHTING, LIGHTING, LIGHTING! If the light set up is done properly, I might even be able to key shots with “Hi-8!” An exaggeration, for sure, but I’ve done amazing things in “mini DV!” I’ve keyed stuff that people say “can’t be done!” HOWEVER, my set up for EVERY format is the same! The way in which we use it, is THE SAME!
In fact, in my presentation at the SONY booth during the NAB show this year, I PROVED keying with 4:2:0 footage is easy and clean, provided the shooter used the right equipment in the proper manner.
YOU MUST USE a waveform monitor to ensure a clean key… there is no other way around it… try it, and you’ll see. There is NO guess work in exposure when a waveform monitor is used.
If you use a WFM, and expose the background properly, you’ll find that you can do most keys in After Effects with the Keylight effect in under five mouse clicks! I’ve done it with the EX line, the XD Cam HD line, HD Cam, DVC Pro HD, Beta SP, DigiBeta, DV Cam, DVC Pro and even Mini DV! Some formats have “better uses” than others… For example, I’d NEVER take a mini DV key and put to film as a main playback, but for TV, it works fine. Most clients BEG me to teach them how we perform chroma keys, because they work, and work BEAUTIFULLY on the first pass! It’s all in the equipment and the way it’s used.
I’m not talking about “fancy lighting set ups” either… the one constant we use, no matter what, is a waveform monitor. It is the KEY ingredient in pulling off a chroma key! (Yes, pun intended!)
So to clarify, I’d love to know the ENTIRE process you went through to get such “horrendous” keys. Perhaps I can help clear up some of the workflow.
Curt
Curt Pair
Picture This Productions
Sony ICE Team
F900/F800/F350/PDW700/EX1/EX3/D790/D600
Adobe Premiere Pro CS3 HD/Matrox
Phoenix, AZ
Reply to this Discussion! Login or Sign Up