money no object….

[Shane Ross]

I would say take it to a post house or post company that knows how to deal with this workflow. No disrespect intended, but many of us here make a living dealing with such issues and consulting others how to deal with such issues. To now explain our workflow secrets and what we wold do in a public forum would really defeat that business. And that wouldn’t be fair to me or any of the others here who make a living solving post issues.

So I say take all of the footage and your unlimited funds to a company that knows how to do this and throw it at their feet.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Nick Price]

thanks shane, I should have said that this is just theoretical. Unlimited funds are not available unfortunately.

I know that everyone has their workflows, and i am not looking to profit from someone elses work. It is more just knowing what is out there.

I dont remember this being covered on this forum (i will of course be proved wrong) and i think people would like to have some idea of high end .

I also make a living sharing my experience, and I have offered and taken help from this forum for 5 years. We have all been given help down the years and I cant believe that sharing your “secret workflows” will put you out of business.

best wishes
NIck

[Rafael Amador]

Hi Nick,
In a certain I understand the pint of view of Shane and even I feel that I could be violating the copy rights because many of the things I know about digital video I have learned from him (what he may be tired is of explain again and again all those things discussed thousands of times).
Since I started editing in a Mac I’ve been 95% working with “lesser-quality” formats: DV and now XDCAM.
My approach is very simple:
– Treat your humble footage with the same love and care that if would have been shoot with the most advanced camera and format in the world. Give him what ever hi needs to get the best of him. So, like to the kids, start by give him all the time needed. I mean: If there is any process that will help your footage, don’t think much about rendering times.
– Give room to those improvements. Your 411/420 footage will only shine in a 422 movie. If is 10b, better than 8b. Also this is a must when talking on resizing: Up or down.
– Avoid multi-rendering/re-compressions. Try to do all the rendering at once. If your workflow force you to more than one render, export always as uncompress.
So the first you must decide is if you will work in HD or SD.
If you go to HD, try to get the best possible up-scaling. The best option (and without leaving the YUV color-space) is Compressor. Shane have a very clear tutorial about how to do it.
If you go to end in SD, I think that FC (whit his best render settings) makes an irreproachable job.
The only tool you will need out of FCS to get the best of your DV/HDV footage is a Chroma filter.
The only available so far for 420 is the Nattress “Chroma Smooth/Sharpening”. I’m more grateful to this plugin that to any other pice of software that I have (together with FC, of course).
if you can get a good capture card, this will simplify and short your work will allowing the best transcoding and re-sizing.
Cheers,
rafael
PS: If you had unilimited funds, don’t spend all the money in video-production. invite your friends to have some beers. Life is much more than video:-)

http://www.nagavideo.com

[Walter Biscardi]

As Shane notes, many of us make a living consulting or working on this very type of project. I have four feature length documentaries that we are starting in March with a mix of DV, HDV, DVCAM, BetaSX, DigiBeta, DVCPro HD and HDCAM.

Long story short, everything has to be in one format before the edit starts. From there, you can do whatever is necessary with FCP and Color. We’ll also use Photoshop and After Effects for Graphics, that’s the extent of it.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

Read my Blog!

STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!

[Nick Price]

Hi Rafael,
I agree with everything you say…. especially the beer/friends. Believe me if i had unlimited funds I think i would start with third world debt and then get onto the film world…

I get all that about fcp, i fact i think we had a conversation about compressor upscaling a while back. I think what i am looking for is more what hardware is available after finishing an offline in FCP, and how could the best possible job be achieved. And if anyone out there has experience taking rough dv and projecting onto a cinema screen where all its ‘bits’ will be seen
thanks
nick

[Walter Biscardi]

[Nick Price] “I think what i am looking for is more what hardware is available after finishing an offline in FCP, and how could the best possible job be achieved”

AJA Kona series, especially the Kona 3. That is a must for a job like this.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

Read my Blog!

STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!

[Rafael Amador]

[walter biscardi] “AJA Kona series, especially the Kona 3. That is a must for a job like this.
“
I think this is the way: Top quality re-sizing and transcoding with perfect “Chroma filtering in RT”.
Since years many really good things shot in DV have been brought to the big screen. Many producer may be thinking: I wish I had a KONA or a BM at that time.
rafael

http://www.nagavideo.com

[Shane Ross]

I think that Walter covered it well without spilling too many beans. COnvert all to one format. Best to do it via hardware, and the AJA Kona 3 is the best capture card for FCP to do this.

Sorry, but yes, if I start posting the secret sauce I use in order to solve multiple format captures my business will suffer. People won’t hire me for the job anymore, because they read the instructions about what to do posted online. I made this mistake in the past, and don’t intend to keep making it.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Gary Adcock]

[Shane Ross] “. I made this mistake in the past, and don’t intend to keep making it. “

ROTF-LMAO

you have finally snatched the pebble from the masters hand, eh “grasshopper”?

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

Inside look at the IoHD
https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Rafael Amador] “I think this is the way: Top quality re-sizing and transcoding with perfect “Chroma filtering in RT”.”

Sorry No Software only process can do as good a job in the same amount of time as hardware

Software only solutions often depend on the CPU / GPU combo that may or maynot give you full rez files (i.e. ProRes playback on non-intel machine is not ever the maximum rez)

Hardware always wins when it comes to simplified conversions- and there is no waiting for processing, transcoding or frame conversion with a hardware capture. You are also always working with a baseband video signal at the maximum bit depth and correct frame raster.

There is nothing like taking a massive number of tapes in differing formats and convert it all to one format so that there would be no rendering, no additional processing and full RT performance. This is the process for most post houses around the world for speed as well as simplicity with the workflow.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

Inside look at the IoHD
https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php