HDV TO KONA

[Jeremy Garchow]

Why not offline in DV? 50 hours of dv footage will be just under 700 MB. You must leave room for renders/graphics. You might look into getting more storage.

[Walter Biscardi]

[Jimmy M] “If I have 50 hours of HDV footage 1080i to use in a doc and want to digitze into my quad -what is the lowest rez that I can digitize and still up rez later to the highest quality”

There’s no correlation between your offline resolution and on-line resolution when it comes to quality. You’re going to re-capture your footage at the on-line resolution when the offline is done. So you can work in Offline-RT if you really wanted to and then re-capture your project at 1080i 10bit HD when you’re done. So the quality of your offline is wholly up to you.

[Jimmy M] “My big worry is I do want to go in a certain quality and not beable to uprez to the best possible quality later.”

Again, no correlation between how you capture for offline and how you re-capture for on-line. You do NOT want to try to up-rez and offline file by simply manipulating the image in FCP. You want to re-capture the footage in final HD.

Walter Biscardi, Jr.
https://www.biscardicreative.com

Director, “The Rough Cut”
https://www.theroughcutmovie.com

Now Posting “Good Eats” in HD for the Food Network

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Jerry Alto]

Jimmy- Check out this AJA HDV whitepaper- https://www.aja.com/pdf/support/AJA_whitepaper_HDV.pdf

It gives some workflow suggestions that might help on your project. If you have the Kona and FCP 5 you could
work in HDV native cuts only (I wouldn’t do any color correction or graphics compositing in HDV).

A real advantage would be the ability to edit with HD external monitoring and small file sizes. You’ll then have the option of going back out SDI to HD Cam, DVCPro HD or even HDV native then on to your final online finishing.

G5 Dual 3GB Ram
FCP5 Studio
External 1 TB SATA Raid 0
Kona LH, Second system w AJA ioLA
Sony Z-1

[David Battistella]

Capture HDV.

Edit HDV.

Do not recapture, you will not gain anything. In fact you will loose quality compared to recompressing which is cleaner.

see here:

https://forums.creativecow.net/cgi-bin/new_page_wrapper.cgi?forumid=83&page=https://www.creativecow.net/articles/battistella_david/recapturing_HDV/index.html

and read the sidebar by Luke at BMD.

Media Manage the finished project to 10-bit uncompressed and color correct and output that finished project.

Buy more firewire storage to handle the extra footage. You can easily capture all of the footage natively.

Try pre-selecting some of the footage. Surely you can get it down to more managable hours upon the first screening.

David

Peace and Love 🙂

[Dave Beaty]

I’ve been digitizing hours and hours of JVC HDV footage to my FCP5 system. Less space needed than DV at it’s 19Mb datarate. No need to load in at any other rez. The footage looks great in it’s native format. Of course 24p isn’t supported in FCP with 720p HDV. We shoot 30p. I have video playback set to Aja 720p 59.94 8bit. It looks great on the monitor in HD or downconverted to SD. I conclude if I need a DVCPro HD master, I can playback via SDI to a DVCPro HD deck.

The ONLY problem I’ve run into is that “Print to Tape” wants to conform the entire edit to HDV output, even though I have Aja Kona selected as the video output in the prefs. IOW, it wants to render the whole timeline to HDV, like I’m printing back to the HDV deck.

Dave Beaty

Dave Beaty
Dreamtime Entertainment
3613 Del Prado Blvd.
Suite 202
Cape Coral FL 33904
239-549-4081
800-446-7575
dave@dreamtimeentertainment.com
http://www.dreamtimeentertainment.com

[Jerry Alto]

Dave- You are still able to do a hard record to the deck..right? You’d just have to build your slate, bars etc. in the timeline and loose the ability
to set the timecode.
Jerry

G5 Dual 3GB Ram
FCP5 Studio
External 1 TB SATA Raid 0
Kona LH, Second system w AJA ioLA
Sony Z-1