Advice on HDCAM to Qrez to HDCAM

[Jeremy Garchow]

Unfortunately, Qrez is “enabled in hardware, but not in software”. You should consider digitizing to DVCPRO HD, giving you good image quality combined with manageable bandwidth. The K2 is a great card for DVCPRO HD material.

I have no idea of what’s going on with Qrez, maybe someone else on this forum can enlighten us.

Jeremy

———–
AJA Kona2>HD10C2>D10A

Decklink Extreme

[Gary Adcock]

[KingCut] “Anyhow, I’d love some real world feedback on HDCAM to Qrez, and spitting back out to HDCAM. They shot 108O @ 24fps. Will we start getting compression artifacts to master? what about noise in the blacks (it’s a rock show). Any major pitfalls or redflags? “

King
if your using a k2 card you can create a new seq and digitize directly from HDCam to DV25 for your offline. you can do this as either letterbox or as anamorphic depending on your preference. This maintains the TC accurately as opposed to transcoding or doing p-jpeg.
This way it does not require the hardware for qrez to installed on your edit station.( ie laptop)

gary adcock

Studio37
HD and Film Consultation

[Oliver Peters]

[KingCut] “Anyhow, I’d love some real world feedback on HDCAM to Qrez, and spitting back out to HDCAM. They shot 108O @ 24fps. Will we start getting compression artifacts to master? what about noise in the blacks (it’s a rock show). Any major pitfalls or redflags”

Currently Q-Res is not enabled, so not applicable. The best workflow would be to capture 1080/23.98 with DVCProHD via K2. Use this for offline, including color-correction. The offline editing could be done on a fast software-only system and can be done with FW800 drives. Then re-digitize the sequence as uncompressed media (array needed), render and record back to HDCAM. I wouldn’t recommend DVCProHD for online, since it will have artifacts that may or may not be objectionable depending on the video and how large and high-resolution of a display you are watching it on.

Sincerely,
Oliver

Oliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com

[John Ladle]

you can fit (capture and playback) almost 2 full hours of uncompressed 1080i 10 bit 29.97 on a single channel huge S series…it is only $3800…probably not too much more than renting it twice! model HMV 320S 1250 M…

[Slaveboy]

thanks for the feedback.

i’m thinking in the back of my mind, “if you had 10 HD camera packages for the shoot, then why don’t you have any $$ for post?”

[John Ladle]

good question. the reality is that for $8k you can edit uncompressed HD on FCP using name brand products with real warranties….for $13-15K (USD) you can edit long for uncompressed HD. a decent HD camera costs you 4-5x that high end number!

[Oliver Peters]

[uncompressed] “the reality is that for $8k you can edit uncompressed HD on FCP using name brand products with real warranties….for $13-15K (USD) you can edit long for uncompressed HD.”

I’m not so sure about your figures. Consider:

G5 properly configured – $4-6K
Kona2 $2-3K (yes BMD is less)
2×20″ or 23″ monitors – $3-6K
Storage – XRAID or SATA raid – $3K-$10K
FCP software – $1K
Decent HD monitor with converter – $2K – $20K
HD tape deck with accessories $30K – $120K
Plus scopes, cables, patch bays, mixer, speakers, etc.

Sincerely,
Oliver

Oliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com

[John Ladle]

Guy, OBVIOUSLY NOT PROPERLY CONFIGURED. are you nuts?

Obviously not vectorscopes, textronix color correcting HD monitors, the actual HD camera itself and decks…

LIST PRICES-
Dual 2.0 G5-$2499
Kona 2 & Kbox $2789
Atto UL4S-$249
HUGE HMV 320 S600M-$2349

$7886 USD–

then you have to add a cheap monitor and some cheap 512s of ram…again, just to do the editing…but the point is, it is really not much more to actually edit uncompressed HD these days…and i would guess a guy in this end of the pond would be renting the 1200a deck for $300-500 per weekend…but the desktop portion of HD is here for sure….

wonder what another NAB will bring?

[Oliver Peters]

[uncompressed] “LIST PRICES-
Dual 2.0 G5-$2499
Kona 2 & Kbox $2789
Atto UL4S-$249
HUGE HMV 320 S600M-$2349
$7886 USD–“

From the Apple store online:
• Dual 2.5GHz PowerPC G5
• 2GB DDR400 SDRAM (PC3200) – 4×512
• 160GB Serial ATA – 7200rpm
• ATI Radeon 9600 XT w/128MB DDR SDRAM
• Apple Cinema HD Display (23″ flat panel)
Subtotal $5,248.00

Plus $1K for FCP and we are at $6248 approx. before adding storage, Kona2, etc.
This machine is the minimum if you intend to reliably edit uncompressed long-form HD shows.

Plus, if this is a concert – 90 min. ? – 600 GB isn’t enough storage for uncompressed 8-bit if you have any sort of handles, effects, render files, etc.

Sincerely,
Oliver

Oliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com

[John Ladle]

my point is the desktop portion is ready to go today. for people doing SD, a kona, fast drive and fibre/scsi cards w/a G5 is not entirely out of reach. so, in context, my guess would be this guy is already doing SD since he has been on the boards he likely has FCP–so he would have fcp with a free upgrade to FCPHD. if i had it correctly, he was merely looking for a drive to to HD…and as far as the size of the drive, i think i covered long and short form in my original post.

You can cut HD without on an cinema display, thats about $2 grand of that–i have even seen people do it.

so for around $9k you can do short form…even according to your own figures which are list and assuming you own nothing which will make to to your new suite and that you get nothing from ebaying or tax free donation of your previous system. if you are scrimping to buy a system, why would you not be renting a deck and camera?

will you leave that alone or is there some nit-picking you need to throw in?