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HD Newbie Question(s)
Hello, I’ve been working in FCP for 8+ years but always in SD. We’ve recently acquired some HD footage, so I’m finally going to have to learn editing in HD format. I’ve picked up a lot by browsing through the forums, but have a few things I want to ask/confirm so I hopefully don’t end up having to work backwards at some point…
My system:
OS 10.4.11, Dual 2 GHz PowerPC G5, 3.5 GB Memory
FCP version 5.0.4
Using Sony HVR-M25AU deck for capture and print to tapeUltimately, the edited masters will need to basically be outputted to the following specs:
HDCAM cassette master in 1080i HD (Full Frame 16:9 Aspect Ratio; cannot be letterbox) format conforming to all relevant SMPTE standards. Video frame rate must be 29.97 (frames per second).
Drop Frame Timecode.
If the audio is provided in stereo, you MUST include all 4 channels. If Spanish &/or secondary language is not available, duplicate ch 1 & 2 onto ch. 3 & 4.Here’s my questions:
1.) I used “easy set-up” to set my project to HDV-1080i60. However after capturing a test file (Capture setting says simply “HDV”) I discovered that it needed rendering when bringing it into a sequence. Checking the clip settings I discovered the clip is 25 fps video rate and HDV1080i50 compressor. Does this mean FCP is capturing the tape according to how it was shot or is this in my capture settings somewhere? And is there an optimal setting for best workflow and still adhering for the easiest output according to the above specs?
2.) I’ve learned I think that editing in HD cannot be viewed on an external monitor (at least not without a fancier capture card)… Is this correct? If so, what’s the best way to QC for video tears etc. that might slip by me in the smaller Canvas window… Digital Cinema Desktop Preview?
3.) For the Master specs above, “HDCAM cassette master in 1080i”… HDCAM cassettes are the same as DVCAM cassettes correct? I was a little confused here because we’ve always had to provide our SD masters on Digi-Beta, so just want to confirm this is correct. Also, 1080i does not specify 60 or 50, so I’m assuming that shouldn’t matter? Lastly on this point, since my captured clip is 25 fps, if this isn’t a sequence/capture/clip setting and is inherent to the tape, is there a way to convert it to 29.97 fps to adhere to the standards above?
4.) How do you duplicate ch 1 & 2 onto ch. 3 & 4.
5.) Are there any other basic tricks/tips I should be aware of?I apologize for the very long post, and appreciate any feedback… even if it’s as simple as “you’re on the right track so far” or “you need to do some heavy research before starting this project”. 🙂
Thanks!
– Tyson -
8 Replies
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[Tyson Caldwell] “1.) I used “easy set-up” to set my project to HDV-1080i60.”
You don’t want to work in HDV for a project that is going out to HDCAM. ProRes at the very least, Uncompressed if you want the best.
[Tyson Caldwell] “2.) I’ve learned I think that editing in HD cannot be viewed on an external monitor (at least not without a fancier capture card)… Is this correct? If so, what’s the best way to QC for video tears etc. that might slip by me in the smaller Canvas window… Digital Cinema Desktop Preview?”
Without a capture card there is no way that I know of.
[Tyson Caldwell] “3.) For the Master specs above, “HDCAM cassette master in 1080i”… HDCAM cassettes are the same as DVCAM cassettes correct?”
Not even remotely close. HDCAM recorders start around $40,000 and go to $100,000 and higher. The tape cassette looks more like DigiBeta.
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. -
Thanks Walter!
You don’t want to work in HDV for a project that is going out to HDCAM. ProRes at the very least, Uncompressed if you want the best.
I’m unfamiliar with ProRes. Uncompressed 10-bit and 8-bit are both settings I’m finding, though I’ve never worked in them. Buying a $40K-$100K deck is out of the question. The output process would be: I would output to the HD deck noted above (Sony HVR-M25AU) and then send that tape to our dubhouse to be converted to the HDCAM format to meet the specs above. I would guess that laying off to the HDV deck is going to compress the video to HDV at that point anyway correct, so would you still want to edit in Uncompressed or ProRes format?
Thanks
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He is still on FCP v 5.04 on a G5 with barely enough RAM
Steve Eisen
Eisen Video Productions
Vice President
Chicago Final Cut Pro Users Group -
[Steve Eisen] “He is still on FCP v 5.04 on a G5 with barely enough RAM”
With an AJA Kona 2, that’s not a problem and I’m sure you can find them used. We started Good Eats in HD with FCP 5 and it worked. But at this point, I’m more concerned he understands what is going to be required to cut and deliver the show in HD. It is possible with that system, just going to be slower than a current machine.
Forgot to mention the hard drive RAID. You should have a very high speed RAID as you’ll want to cut in DVCPro HD absolutely minimum or Uncompressed HD will be your only other choice with that version of FCP. ProRes is not available to you.
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. -
You’re entering a whole new world with kit which is about 3-4 years out of date.
To be honest, my advice would be for you to edit your programme on your set-up in a HDV sequence and make it look the best you can. Then take that sequence and the media to a professional post house on a FireWire drive and let them online it for you. It will cost money but this isn’t a cheap industry. Attend the online and ask questions, watch what they are doing and next time you will be better prepared.
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FCP and Avid Technical Support
Air Post Production
Shoreditch – London -
That’s actually a great idea Gary. Something I always suggest to folks who are getting into color enhancement for the first time. have a pro colorist do the work at their facility, but go and watch what they do and why they do it.
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. -
Thanks guys!
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[Tyson Caldwell] “I would guess that laying off to the HDV deck is going to compress the video to HDV at that point anyway correct, so would you still want to edit in Uncompressed or ProRes format?”
I would look for a dub house that can take an Uncompressed Quicktime file of your finished product and edit that way. It’ll be a far superior product if you get out of HDV before you edit and never go back to that format.
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.
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