First Time HD Edit

[Shane Ross]

[Pete] “using Panasonic 1200A deck (using the 1394) blackmagic card but not an HD just SD.”

As far as I know, none of the Blackmagic cards have IEE1394 or firewire connections. That connection is on the computer and deck. The card might offer SDI and/or Component and composite inputs. Which card specifically is it?

[Pete] “Anything upfront i need to know about? as far as lower or upper field first? “

Just use the EASY SETUPS and you should be fine.

[Pete] ” final product will be 4:3 SD, so should i just digitize it SD already, or convert in FCP? CODECS?”

If I were you I’d capture via firewire at native DVCPRO HD compression. Make sure you ask your DP what format he is shooting so that you can choose the right one. Then when you are done editing, either a)drop the cut into an 8-bit uncompressed Blackmagic sequence and render, then output via the card to a rented SD deck, or b) output to the 1200HD (you can now do so with timeline timecode via a tip from Walter:https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=8&postid=883352) and then get that dubbed to the required SD format. The latter might be the way to go, because you already have the deck, but both should work.

[Pete] “how to safely dub this to DVD for TV Stations? “

What station takes DVDs? You need to ask the station what their requirements are, and meet them. Take your master to a dubbing facility to have it done properly, if you cannot do it yourself.

I now leave the floor open for Walter to comment.

Shane

Alokut Productions
http://www.lfhd.net

[P3dro]

thanks shane … sorry for the confusion, 1394 was for the deck, the blackmagic card was just a description on the boardset, not that the card had 1394, sorry for the confusion.

Shane thanks a bunch.

they shot the footage in 24p, how should i approach my graphics in AE? any ideas?

Thanks again.

[Shane Ross]

OK…24P…can of worms.

NOW…what is your FINAL destination…final master format? If tape…then edit in a 29.97 timeline. In fact, you should ONLY do that unless you are doing direct to DVD ONLY or film out…or web release. If you ever want to go back to tape…stick with the 29.97 timeframe.

Not sure about graphics and AE…if it were me I’d stick to the 29.97 timebase there too.

Shane

Alokut Productions
http://www.lfhd.net

[Pete]

Final destination is TV Stations, which most are 29.97, i mean i am mastering to DVD, but i believe it has to get dubbed to tape at some point. Should i stay in 29.97? if so … is that an option i can switch on the deck before digitizing into FCP, or am i pretty much screwed since it was shot in 24?

Thanks Shane, you’ve been a great help & source of new info.

[Shane Ross]

[Pete] ” i mean i am mastering to DVD, but i believe it has to get dubbed to tape at some point.”

Don’t do this. Don’t master to DVD then dub that DVD to tape for broadcast. That is not how it is done. By mastering to DVD you are adding a LOT of compression. No….DVD is for home distribution or for client approval only. What you do is master to tape, like to D5, directly from the computer via a capture card. You need to ask the networt what they require as a delivery master.

[Pete] “Should i stay in 29.97?”

Depends on the network requirements. They might want a D5 master at 59.94.

[Pete] “if so … is that an option i can switch on the deck before digitizing into FCP, or am i pretty much screwed since it was shot in 24?”

How the footage is captured is dependant on how it was shot. The camera sets the flags in the footage, and those flags determine how it is captured. If the camera was set to 720p24, then you will capture 23.98…720p30, 29.97…720p60,59.94. Edit it at that frame rate, then use a capture card, like the Kona 2, to output to the frame rate that the network requires.

Shane

Alokut Productions
http://www.lfhd.net