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FCP to beta
Here’s the work-flow I have been using,
The question is will I notice any improvement?My work-flow is a simple one,
I shoot on an Xl2,
capture via FW DV/dvcpro codec
edit in a DV/NTSC timeline
(import lossless renders from AE)
(.png’s from photoshop)Once I am done I duplicate the timeline and switch the timeline settings to ProRes 422HQ render and print out to beta—via FW thru the XL2/S-video out to Sony PVW-2800 S-video in and BNC to ref vid in.
Say I purchase ajaIO/decklink/matrox…
Export from an uncompressed 10bit timeline am I going to see a major difference in my GFX renders? less alaising/jaggies?
I realize the footage is what it is, I am just wondering if I have been missing something from the GFX side. -
7 Replies
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I’m sure other’s will add to this .. but why stay in DV… upres to your master timeline before you bring in graphics.. I would suggest running graphics and your timeline at no less than uncompressed D1 4:2:2, and output to digibeta, or soemthing better.. in teh HD land….. Going S-Vid to SP is runnning an analog out..
jaggies, etc, I presume are coming from DV format in AE.. and/or the analog output path. It would be best to upres to ProRes at the start of your project, you are not gaining anything by doing it at the end.
just a few thoughts anyway.
jJim Fink
New Century Digital Media
Chapel Hill, NC
Avid|DS
(919) 929-5228 Voice or 423-4363 (Cel) -
[brad nall] “Export from an uncompressed 10bit timeline am I going to see a major difference in my GFX renders? less alaising/jaggies?”
Not if your graphics were originally rendered in a DV timeline. You can switch over to a ProRes timeline, re-insert your graphics, render and then they will be cleaner.
I would recommend capturing all of your DV material through the capture card directly to ProRes and work in that format right off the bat so you’re in full D1 720×486 instead of DV 720×480. Can’t recommend the AJA products enough.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” now in Post.
Creative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital. -
Capturing the DV stuff with the card will improve the picture. The card makes a nice filtering when going from 411/420 to 422 that will smooth the DV look.
You can get similar effect in FC with some filters (Nattress Chroma Smooth/Sharpen), but takes long.
The card do it in RT.
Prores probably is the best option. If you prefer 10b Unc you can off-line in DV first.
Cheers,
rafael -
Thanks for the responses,
So now I get to look really stupid…(I’m pretty good at that)
I connect the XL2 via Fw for deck control
and run BNC out of the XL into the card? -
[brad nall] “I connect the XL2 via Fw for deck control
and run BNC out of the XL into the card? “
Right. Connect it to an SDI in.
You will be getting an 10b Unc stream in.
rafae -
Thanks for the confirmation.
So, i am still wondering,
Am I loosing any resolution coming out out of FCP via FW
over using a dedicated card going straight to Beta?Using ProRes422 timeline out FCP through FW to an XL2 to Beta SP.
Thanks in advance.
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[brad nall] “Am I loosing any resolution coming out out of FCP via FW
over using a dedicated card going straight to Beta? “
What you get from the Beta desk is a full Broadcast Video signal that needs to be digitized.
Whatever you pass through the FW will get compressed to DV quality, with all his blocks etc,etc. If you digitize it to Prores the picture will look as the original Beta picture, or even better because you can adjust levels on capturing.
Rafael
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