Cutting dvcpro hd in premiere pro 1.5

[Tim Kolb]

The AJ-SPX800 is a standard definition camcorder. DV/DVC Pro/DVC Pro50.

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Kent Smith]

Sorry, I meant the HDC27H. But regardless, dvcpro hd in 24P mode is what I’d like to shoot on, but that doesn’t answer the question if Prem.Pro can handle dvcpro hd or any dvcpro format.

[Tim Kolb]

[Kent Smith] “Sorry, I meant the HDC27H. But regardless, dvcpro hd in 24P mode is what I’d like to shoot on, but that doesn’t answer the question if Prem.Pro can handle dvcpro hd or any dvcpro format.”

I needed to know what the question actually was…uncompressed SD is a different animal that HD…all “DVC Pro” formats are not the same by any stretch.

You would need an HD-SDI system that used a proprietary codec…I think that BlueFish, AJA and Black Magic all work with PPro…the first two for sure anyway.

There is no FW workflow with DVC ProHD on the PC. DVC ProHD is kind of lossy to use to edit in my opinion, but if that’s what you seek…it’s a Mac you need.

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Kent Smith]

I thought Avid express uses dvcpro natively. I was told it would soon be able to use dvcpro hd natively, but I’d like to avoid editing with Avid.

Don’t Blue Fish, AJA and Black magic all convert dvcpro hd to another codec? And if so, what is it exactly that Premiere Pro is using as an HD codec. And what the computer/cpu requirements are.

My question basically is: I’d like to shoot in 24P dvcpro hd and edit on premiere pro. If not, my options are to shoot sony hdv (wich I’ve already done) or look into Avid or find a FCP editor. The Sony HDV is working okay, but it seems to struggle with any video efx and color corections, and most speed changes are filled with flickering, even with video options set to deinterlaced or flickerless. I still don’t get the smooth slow motion I’ve gotten on my Velocity Dps system. At this point, I’m trying to see what I’m up against if it shoot with a Panasonic 24P HD camera.

[David Kirlew]

What do you mean by DVC Pro HD being lossy? Does that mean that HDV or HDCAM is a better format?

[Steve Freebairn]

Black Magic has there specs on their website for what you need, but basically, any of the companies that were listed are going to have their own version of a DVCPRO HD Codec. You don’t have to get a mac to edit it, you just need a add in card that can handle it. I’d personally go with a Black Magic card, just check out which one has the connections that you need and want. The reason why I say that is because they have a lot of different models to choose from. HDV isn’t going to be as good DVCPro HD footage for slow motion because it is heavily compressed. If you overcrank in the camera (if that function is available, or even just shoot 30p) then your slow motion will look better, also, high shutter speeds tend to make slow motion flicker more. Good Luck

[Kent Smith]

That’s the main reason I’m trying to upgrade from HDV, plus getting prepared for the HVX200, if I can also get around the price of the P2 cards–big expense and too little running time for footage–another big issue in NOT buying the camera right away. The Black Magic card has been recommented by others. I’m on a budget, so I want to make sure it’s going to work and not have to spend thousands getting it working.

Thanks

[Tim Kolb]

[David Kirlew] “What do you mean by DVC Pro HD being lossy? Does that mean that HDV or HDCAM is a better format?”

Well…most all the acquisition HD formats except HDCAM SR and the Viper are lossy…or in other words, have lost data through compression that won’t be reproduced when the video is decompressed.

Don’t misunderstand me. They can all produce good pictures in their own right, it’s just that most of these constant bit rate codecs aren’t really structured for editing. On a strict data rate basis (uncompressed HD being 1.2-1.4 Gigabits per second), JVC HDV is the lowest at 19.7 Mbits/sec, then Sony HDV 25 Mbits/sec, then there’s DVC ProHD at 100 Mbits/sec, next is HDCAM at 140 Mbits/sec, then D5 at 235 Mbits/sec, and then HDCAM SR at 440/880 Mbits/sec. and finally the Viper which can go directly to disk via dual link at levels up to uncompressed. Image quality is really a separate issue from data rate however…

Many editing systems like Avid DNxHD or CineForm have codecs designed more for post…the best use variable bit rates at higher rates than acquisition formats. Variable bitrate allows extra room in the data rate in case a change made in post ends up needing more data to accurately describe the new image. It also saves data in shots with little movement, where the data rate can be decreased.

I personally like the idea of using a more post-friendly codec, but yes, most of these systems do convert the media.

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net