Creating independent clips…

[Tom Wolsky]

You can use Media Manager for this. Read up on how to use it.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP6,” “Basic Training for FCS2” and “Final Cut Express Made Easy”
Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 3.5 HD Editing Workshop”

[David Roth weiss]

[trassalg] “I’m editing in HDV, which is taking a lot of disk space.”

How many hours of video do you have?

HDV is only 13gb per hour, the same as standard definition DV, and thats really doesn’t take up a lot of disk space.

500gb hard drives, enough to hold nearly 35-hours of HDV, are now only $109. I would suggest that getting yourself a new hard drive might, in the long run, possibly be a more efficient use of your time and resources.

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY™

A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.

[Arturo Glass]

I have a 2 Terrabyte hard drive, and am planning on having around 150 hours of footage. I’ve captures 2 hours thusfar with the Apple Intermediate Codec and those 2 hours alone are taking up 86 GB!

It’s all footage shot at 1080p24 with a Sony V1U, imported using the Apple Intermediate Codec, then going to backwards telecine to 23.98 because the AIC imports at 1080i60.

If you have any suggestions on importing in HDV @ 24p, keeping it to 13GB per hour but retaining the quality, I would greatly appreciate it.

Also, if there is any way of keeping the original timecode tied to the footage that would be great. Or to do that is my only option importing and editing in SD then doing an HDV online?

[Tom Wolsky]

Why on earth are you going to AIC?

The V1U shoots 24p normal. From the Sony website:

“1080/24p acquisition with 2-3 pull-down recording – Compatible with existing Sony professional HDV equipment
The 24p scan signals are recorded on tape as 60i signals through means of 2:3 pull-down.”

You capture at standard 29.97 frame rate and the native codec. This is the original video quality. There is no degradation.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP6,” “Basic Training for FCS2” and “Final Cut Express Made Easy”
Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 3.5 HD Editing Workshop”

[Arturo Glass]

I was going to AIC because in other forums they recommend to go to AIC then reverse telecine with Cinema Tools to edit in a 24p timeline. The final product is going to be printed to 35mm film, as well as DVD (NTSC & PAL) and Blu-Ray.

Is importing directly using 1080i60 going to give me the same quality/look as working in a 24p timeline (via he AIC import option)?

[David Roth weiss]

[trassalg] “Is importing directly using 1080i60 going to give me the same quality/look as working in a 24p timeline (via he AIC import option)?”

Look, no one here knows what level you operating at, but I can assure you, everyone here has seen filmmakers running around in circles chasing the expensive 24p “filmout,” when they would have been far better off thinking about their story. Please do tell, what are you doing that necessitates a 35mm filmout?

For the record, the 24p look has been captured on tape, that is not going to change now whether you edit at 24p or at 29.97. Doing a “filmout” is the only thing at this point that editing in true 24p might facilitate, and that can be done after editing is completed and the project is evaluated if its really necessary.

Also for the record, AIC is a “lossy” format that was created as a temporary solution while Apple perfected native HDV editing. Very few people use it because the alternatives are simply better. Capturing native will yield better results than capturing AIC.

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY™

A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.

[Arturo Glass]

So what is my best codec option then, given the current options, which will give me HDV quality (and be around 12GB/hour of footage)?

[David Roth weiss]

Try HDV 1080i/60.

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY™

A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.

[Arturo Glass]

Then what purpose does the Apple Intermediate Codec serve? My understanding is using it in conjunction with Cinema Tools was the only way to go to a 24p timeline while shooting with the V1U.

[David Roth weiss]

I was suggesting that you cature and edit native HDV 1080i and worry about the pull-down after the edit. However, if you are dead set on editing in a 24p timeline with the pull-down removed you will have to transcode to AIC or Pro Res.

Below is what is written in the release notes of the latest FCP 6.0.2 release:

Sony HVR-V1 HDV Tape-Based Camcorder Support

Final Cut Pro 6.0.2 is compatible with the Sony HVR-V1 HDV camcorder, which is capable of recording 1080p24, 1080p25, and 1080p30 footage. You can capture natively or capture to either the Apple Intermediate Codec or the Apple ProRes 422 codec. You can also output back to the Sony HVR-V1 camcorder using the Print to Video command.

To natively capture 1080p25 or 1080p30 footage, you should use the HDV 1080i50 and HDV 1080i60 Easy Setups, respectively. Your footage will retain its progressive scanning even though it will be stored in an interlaced format. You can capture 1080p24 footage using the 1080i60 Easy Setup, but your captured footage will retain 3:2 pull-down in this case.

For transcoded capture of 1080p24 footage, 3:2 pull-down is removed during transcoding, resulting in footage stored in the 1080p24 Apple Intermediate Codec format or the 1080p24 Apple ProRes 422 codec format. You can also capture 1080p25 and 1080p30 footage to either format, although Easy Setups are not included for these formats. In these cases, your captured footage is stored in the 1080p25 or 1080p30 Apple Intermediate Codec or Apple ProRes 422 codec format.

Here are the recommended workflows for capturing from and outputting to the Sony HVR-V1 camcorder with Final Cut Pro 6.0.2:

24p/60i on tape: Capture to the 24p Apple Intermediate Codec or Apple ProRes 422 codec, then output to the HVR-V1 camcorder in 24p/60i mode.

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY™

A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.