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Anyone using variable frame rate DVCPRO HD?
Hello,
I am about to embark on a project shot exclusively on a Varicam, I’m totally confused about this format, specifically the variable frame aspect, I wonder if anyone can clear the muddy waters.
Firstly the system we have is FCPHD on a G5 2.7 with a Kona 2 and an IO LA. We also have a 23″ HD Display connected to the Kona 2 via a Blackmagic HD Decklink box.
The project has been shot at variable frame rates with the end result being a 25p programme-(UK). My initial workflow idea was to hire a AJHD1200 for a couple of days and to digitise all the footage onto a big firewire drive using the DVCPro native codec, and then cut it up. The majority of the footage has been shot at 25p but there are a few tapes that have been shot at 50p and 60p.
So what is the best way to get around this.
Would the best workflow be to get those 50p and 60p tapes converted, which I assume would mean being put onto other tapes via a FRC running at 25p? Or could I use the FRC plugin which I downloaded from Panasonic? I’ve heard that if you use the HDSDI input then there is no need for a FRC, I don’t know how true this is. This may be an alternative workflow, I’m assuming that we could do this and downconvert and then online elsewhere as we don’t have the necessary hard drives for full HD.
Sorry for my ignorance, but there seems to be a lack of knowledge on all things HD over here in Blighty.
Thanks in advance.
Otis F
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5 Replies
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[Otis F] “Would the best workflow be to get those 50p and 60p tapes converted, which I assume would mean being put onto other tapes via a FRC running at 25p? Or could I use the FRC plugin which I downloaded from Panasonic? I’ve heard that if you use the HDSDI input then there is no need for a FRC, I don’t know how true this is. This may be an alternative workflow, I’m assuming that we could do this and downconvert and then online elsewhere as we don’t have the necessary hard drives for full HD.”
Coming in via Firewire, FCP will automatically see the 23.98 and 59.94 flags if you have the option selected to ignore duplicate frames in the Capture Settings. I’m not sure on the HD-SDI side as I have not captured any 50 or 60 via SDI yet. The Frame Rate Converter from Panasonic works very well and I’ve used it on test footage shot from 4fps to 60fps and it pulls the frames very cleany and quickly.
What I do is capture all the clips via Firewire. Then take the clips I know are a different frame rate and move them to another project. Perform all the FRC work in that new project. Now move the resulting clips back to my original project. This just keeps the original project cleaner.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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My friend Walter and I differ on the best way to bring in VariCam material.
Firewire is suitable for cuts-only projects because each effect, color correction, or layer results in a decompression/compression cycle which noticeably degrades the image quality. The DVCPro HD codec looks great when you bring it in via Firewire, but it will not hold up to effects and layers.
For the best results, bring your material in via HD SDI. This does require more disc space, but fail to do this at peril of reducing image quality.
Best regards,
LeoDirector/Cinematographer
Southeast USA -
[Leo Ticheli] “Firewire is suitable for cuts-only projects because each effect, color correction, or layer results in a decompression/compression cycle which noticeably degrades the image quality. The DVCPro HD codec looks great when you bring it in via Firewire, but it will not hold up to effects and layers.”
Actually, Final Cut Pro 5.0 has a noticeable improvement over FCP 4.5 on how it handles the DVCPro HD codec. The overall image is cleaner and renders are very sharp. We’re cutting a broadcast series utilizing the Firewire workflow all the way through and it’s working very well.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Hi Otis,
As you are in the UK I am assuming that you are shooting or have shot varicam 720P at 60hz like we do here in Australia, unlike our American cousins who use 59.94hz The problem you are going to run into capturing via firewire into FCP HD( this may have changed in 5 ) is that FCP can only capture footage shot at 59.94 hz. If in fact you have shot at 59.94 when you downcovert to SD your downconverted footage is going to be NTSC and not PAL, which may be or not be an issue for you. Also if you down the 59.94 path you are going to end up with a HD master which may to converted for broadcast (it would down here). The less hassle way would be to go HD SDI and use the AJ-FRC frame converter for your off speed footage. Hopefully Apple and Panasonic will put their heads together soon so FCP can support 720P 60hz over firewire not just 59.94. If any one out there has any work rounds I’d love to hear them, as I have several clients who have tripped up on this 59.94 vs 60 hz issue and caused themselves grief, They ended up with 59.94 masters which had to be converted by an outside facility using a Snell and Wilcox Alchemist -
I’m glad to hear Walter is seeing an improvement in quality with FCP 5. The fact remains, however, that the best results are obtained by loading via HD SDI, then you will be working uncompressed thoughout the process.
Best regards,
Leo
Director/Cinematographer
Southeast USA
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