Att: Graeme, Walter, et al – HDV/DVCPRO Workflow, etc

[Gary Adcock]

[Graeme Nattress] “Could you take the DVCproHD down to an offlineRT and still have it watchable enough to edit on a laptop, Gary?”

yes you can but i would recommend regular photojpg at 50% rather than offline RT- I have seen too many issues with un-reliable TC recording in FCP’s “offline RT” compression that makes the redig of the content alot of work.

but we are still talking about more than 1T of data

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[E Laine]

It looks like there’s no getting around a desktop.

[gary adcock] “While you can do a DV downconversion in the deck. this is best handled with a 3rd party card like the Kona’s that walter and I use, that would allow you to do a frame accurate capture of the content as SD.”

Am I right in understanding that I still use the deck to downconvert to SD, but then I can also choose PhotoJPG compression? And this has reliable TC? Would I then edit the offline in a SD 24p project?

Rather than renting/owning a DVCproHD deck, has anyone downconverted and dubbed their masters to DVCam for the offline, then conform from the original masters?

-e.

[Gary Adcock]

[e laine] “Am I right in understanding that I still use the deck to downconvert to SD,”

Both the 1200a and 1400 decks can down convert to SD over FW.

[e laine] ” but then I can also choose PhotoJPG compression?”

NO – capturing to Photojpeg requires 3rd hardware and cannot be done over FW.

[e laine] “And this has reliable TC?”
TC over FW has never reliable, nor is it frame accurate. Something of a tolerance of +/- 6 frames.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Hhhhdfx]

They look about as good as they’re going to look. I also have used the KONA 2 card to do similar things and it looks great although you have slightly more control with the Tera Nex. I will share this experience though- with a UFC upconverter. Our doc had many formats all heading for our uncompressed HD online. Our target was 23.98 4:2:2 uncompressed, and one of the DV shots had ben filmed with a DVX100 in bright light, and the DP had evidently used the ‘skinny shutter’ that can end up giving the footage that staccatto, ‘Saving Private Ryan’ look. In our first pass, taking footage that already looked like that and deinterlacing, upconverting, and changing the frame rate to 23.98- the look became very pronounced so we changed the setting on the UFC to be less film like (if I remember corerectly there are similar settings on the Tera Nex, you choose something like either ‘sports’ or ‘cinema’)and the footage looked much smoother and totally acceptable… until it was encoded for DVD. Somehow imperceptibly those shots were different and out of the 90 minute feature those shots now had venetian blinds over them, which was a simple fix- deinterlacing them again, although they were already deinterlaced.

So it may be a good idea if you haven’t done a lot of this to test the shots all the way through the finished format.