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Onlining DV
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Cool, as long as she doesn’t do ANYTHING to the clips (no moving, time remaps, cc, filters, nothing) it’ll be pretty much a clone that you can recapture then, @ 10bit.
Jeremy
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I wouldn’t do the selects reel, then matchback process. Too many opportunities to lose the original edit, or to mess up the audio mix because selects output levels were different than the original capture. you’re asking for trouble.
Deal with the million tapes and keep a clean list.
Not only that, there isn’t a single film [nor director] I know that doesn’t come back for a re-edit after a few screenings, which means going back to the original tapes for other scenes, or trims, or who knows. In which case, your matchback reel ID’s will be useless without consulting some sort of source list.
I vote for the modifying of sequence settings to 10-bit or 8-bit [10-bit could end up having color correction/legalizing issues as discussed in other strings here].
Remember that FCP moves DV footage up 1 scan line when pasted into a 486 canvas. Leave it that way – it’s for correct field dominance. I agree with doing the final output 8-bit or 10-bit if there are significant graphics involved.
steve covello
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Steve, right you are. I will bring this up with her.
Gordon Gurley
Director of Operations
Stanford Video -
since I am always looking for trouble, I will throw my unwanted 2 cents in here. Had everyone involved been using one of the following VTR’s, this would never have been an issue –
Sony DSR-45
Sony DSR-60
Sony DSR-80
Sony DSR-1600
Sony DSR-1800
Sony DSR-2000
Sony HVR-1500However, since everyone insisted on working with Firewire
at DV/NTSC (isn’t this an AJA forum ? ), you are in trouble.
My advice is to take that DSR-11, and throw it in the garbage. Go onto ebay, and buy one of the VTR’s listed above, and you will never have to think about this issue ever again.Bob Zelin
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The reason for my posting here is that I’m wondering if taking the DV via SDI thru Kona @ 10bit will give me an appreciable upgrade in image quality worthy of all the hassle of recapturing piles of source tapes. There will be graphics and a fair amount of color correct.
Gordon Gurley
Director of Operations
Stanford Video -
Some will tell you know, some will tell you yes.
2 people here have said no, 2 people have said yes.
I see a difference, but maybe you won’t.
Jeremy
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Maybe I’m stupid, but if she works in FCP, why not copy all the files and the project straight to your computer? And then when you finalize the project turrn it into a 10 bits timeline?
Kool En De Anderen
MAC Pro/Kona LHE/Apple FCS 2/Adobe Production Premium
http://www.koolendeanderen.nl -
Yes, thanks, that has been suggested. The question is whether or not recapturing from a DSR 2000 ( which from my understanding will improve the quality right off the bat) via SDI to Kona at 10 bit uncompressed will give us better results than doing as you suggest.
Gordon Gurley
Director of Operations
Stanford Video -
In my opinion, yes. The footage will get cleaned up a bit (not much, but a bit) and your graphics will then by much much cleaner in a 10 bit timeline and your color correction will render in a higher color space (4:2:2 as opposed to DVs 4:1:1). It is worth it in my opinion, but I think you know that. If you have FCP6, you can give ProResHQ a shot as well. It’ll save you some disk space and you can operate in a 10bit color space.
Jeremy
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I have performed onlines many times for low budget (political) commercials. I used to follow the train of thought of recapturing at uncompressed, but have found it is not necessary for the process but is a waste of time. You gain all the benefit of improved color space and graphics renders by just bumping your sequence codec to DV50, or Uncompressed, and rendering. Just remember if you want to go uncompressed, you must shift all footage up or down by 1. You could also add a chroma filter, like the one from Nattress (which if i remember correctly, reports to only work properly when applied to the source dv footage). There is no benefit to recapturing once picture is locked.
On a side note, I do a bump up recently from Uncompressed-10 bit to Sheer’s Uncompressed 10-bit for cleaner color when rendering in graphics.
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