capturing HDV 24p

[Olin Padilla]

I haven’t dealt with a problem like this in a long, long time. If I recall correctly, the problem was always caused in camera. In other words something must have happened while shooting (i.e. turning the camera off, resetting time code, etc.), and there really is a discontinuity in the time code.

I don’t really know how the time code works in HDV24p, but if there’s an option in the capture to change the frame rate or capture 24pa then I would try it.

[David Roth weiss]

Sharon,

Have you tried capturing HDV to ProRes on the fly? If not, check out the brief tutorial below. It’s virtually all automated, capturing from camera start to camera stop, and because the transcode it performs is slower than realtime it sometimes cures HDV capture evils.

https://library.creativecow.net/articles/poisson_chris/hdv-prores.php

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.

[Jeff Greenberg]

HDV tends to have very squirelly timecode due to the long gop pattern. Can you just capture the whole tape and go from there?

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com

[David Roth weiss]

[Jeff Greenberg] “Can you just capture the whole tape and go from there?”

Almost never Jeff. The issue is that every time you start and stop the camera HDV timecode is written in a non-continuous manner that just hasn’t ever really worked well 100% of the time in FCP’s rather antiquated Log and Capture module.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.

[Jeff Greenberg]

Part of it David is FCP, most of it, is that HDV has lousy, long GOP frames (but I know you know this.) This is why I suggested capturing the whole tape.

With HDV, I just capture the whole tape via capture now and then treat it as file based material. I just don’t trust HDV, even with good shooting practices (like 6+ sec preroll for shooting.)

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com

[David Roth weiss]

[Jeff Greenberg] “With HDV, I just capture the whole tape via capture now and then treat it as file based material. “

I’ve never managed to capture a whole tape… Capture Now never worked that way for me with HDV as it worked with DV and other tape formats. This is one of the reasons I switched to capturing the technique of capturing to ProRes on the fly. Though it’s not perfect, it just works better, at least for me it has.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.

[Sharon Hughes]

Thanks for the input everyone.

Update: Capturing the whole tape worked well for me if FCP was able to find the in point, but more often it was unable to even do this.

The best thing so far has been capturing pro-res. Seems to be working so far and I’m getting timecode. I still have a bunch of tapes to go, so fingers crossed.

Thanks for the suggestion, David.

Sharon

[David Roth weiss]

[Sharon Hughes] “The best thing so far has been capturing pro-res…

Thanks for the suggestion, David.”

I thought that might work for you Sharon. It saved my bacon a few times…

Thanks for the feedback, it’s always good to hear when things turn out well.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.