HVX200/FCP/1080p Workflow

[Shane Ross]

I have the same deliverable…slightly different format. 1080p HDCAM at 23.98. We shot 720p 24PN and are editing in a 23.98 timeline. When I need to output the show to tape, I will copy and paste the sequence into a 10-bit uncompressed HD timeline running at 23.98…resize and render. Then I will do all my color correction. The software upconvert (render) is VERY good. You’d be hard pressed to tell the difference between footage upconverted and rendered and something captured at uncompressed. And really, if you shot with the HVX this is the only way to go. Outputting to tape and upconverting with a Terranex works to I suppose, but is really not necessary.

The only issue I have is that FCP does not provide a DROP FRAME TIMECODED TIMELINE at 23.98…even though D5 and HDCAM have that option on their decks. Makes timing a show for broadcast VERY difficult.

Shane

Littlefrog Post
http://www.lfhd.net

[Jan Crittenden livingston]

Since you are working with the Firestore and not P2 Cards, I would say do the 1080i/24PA and drop the extra frames on import to FCP. 720/24P on the firewire out put is the very same data rate and you would have to render out the frames with the Frame Rate Converter.

The 1080/24p does have a little more resolution and that will pay you back on the conversion to D5 HD.

Good Luck,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Don Wilson]

Shane,

Are you reffering to the render in FCP to upconvert or are you using a plug in? I have to do the same thing from the same format to deliver to film festivals for HDCam projection sources.

Don Wilson
AmericanaMediaInc.com

[Shane Ross]

No plugin or filter. Just drop into a timeline with the settings you want, resize if you need to (MODIFY>FIT TO SEQUENCE) and render.

Shane

Littlefrog Post
http://www.lfhd.net

[Don Wilson]

Thanks Shane, what I figured. Got a new Quad with Kona 3 and this thing is amazing. I made a deal to exchange for a small “restocking” fee for the new Intel G5 if they come out within 90 days but I don’t know man, this thing is so solid and the first time I’ve been able to say that in years. I had a 1st generation Dual 2gig and it was problematic from day 1. Would you use the Kona to upconvert on output instead of rendering in FCP or is that asking for trouble?

Don Wilson

[Shane Ross]

[Don Wilson] “Would you use the Kona to upconvert on output instead of rendering in FCP or is that asking for trouble?”

In many instances I would use that handy feature. In this case, I wouldn’t as I have a lot of color correction to do. Colorizing to make the recreations stand apart from the B-Roll and interviews. For that I want to work in a 10-bit uncompressed workspace. But for simple cut projects where there isn’t a lot of color grading to do, I’d use it in a heartbeat.

Shane

Littlefrog Post
http://www.lfhd.net

[Gary Adcock]

[Don Wilson] “. Would you use the Kona to upconvert on output instead of rendering in FCP or is that asking for trouble?”

you will always get better result in hardware – and you would not have to render with the Kona 3 on that up convert, saving time and disk space.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL

[Leif]

” I would say do the 1080i/24PA and drop the extra frames on import to FCP”

Thanks for the helpful response, Jan.

Could you please tell me how to “drop the extra frames on import”. Is there a setting somwhere? Is this a FCP 5.1 option only?
It’s very likely I’m looking right at it and just missing it.

Anyway, thanks again!

-L

[Jan Crittenden livingston]

Set the capture window to 29.97 1080i DVCPRO, and then on the Sequence window there should be a check for removing 2:3:3:2.

Hope this helps,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems