OT: First HD Shoot & Edit

[Walter Biscardi]

[Dave] “Is there anything I will gain or lose by shooting 24P instead of 60i”

24p gives you a “film type look” which with some cameras will soften the image a bit. 60i gives you the look of “live tv” and produces a very very sharp image.

With 24p you need to be very careful with camera movements, especially pans and tilts. With 60i your movements aren’t really restricted at all.

Best advice is do some testing with the camera. Shoot one way, edit a bit, shoot the other way, edit a bit and go with whatever works the best for you and the project.

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

[Dave Jenkins]

Thanks, Can I mix 24P & 60i in Final Cut? I was planning to use the pull down on the 24P and edit in 60i.

Dajen Productions
Santa Barbara, CA
G5 Dual 2 Gig – AJA IO & LA
Huge 1.2 Raid
FCP 5-OS X 10.4.1-QT 7

[Walter Biscardi]

With DVCPro HD I do this all the time. We always capture in 59.94 and just edit in the 59.94 timeline, especially for broadcast work.

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

[Walter Biscardi]

[walter biscardi] “With DVCPro HD I do this all the time. We always capture in 59.94 and just edit in the 59.94 timeline, especially for broadcast work.”

but just to clarify, we edit in progressive, not interlaced. we convert to 1080i after mastering.

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

[Dave Jenkins]

Thanks for the info Walter

Dajen Productions
Santa Barbara, CA
G5 Dual 2 Gig – AJA IO & LA
Huge 1.2 Raid
FCP 5-OS X 10.4.1-QT 7

[Dave Jenkins]

Okay we bought the Kona LH, we are shooting with the Sony 900’s at 24P.
Should I let the Sony JH3 HD Deck do the convert to 1080i @ 29.97 or 59.94.
Should I edit in 24P or should I let the Kona LH convert to 1080i @ 29.97 or 59.94.
Does it make any difference if we shoot in drop or non-drop frame?

Thanks Dave

Dajen Productions
Santa Barbara, CA
G5 Dual 2 Gig – AJA IO & LA
Huge 1.2 Raid
FCP 5-OS X 10.4.1-QT 7

[Walter Biscardi]

I havne’t done any work ingesting and editing with HDCAM for about two years so I’m not really a great person to give you any advice on that.

Basically you should do a few tests on several workflows and see what works the best for you. We spent about 6 months working out the post workflow for Good Eats and now it’s a pretty straightforward workflow.

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

[Gary Adcock]

[Dave] “Okay we bought the Kona LH, we are shooting with the Sony 900’s at 24P.
Should I let the Sony JH3 HD Deck do the convert to 1080i @ 29.97 or 59.94.
Should I edit in 24P or should I let the Kona LH convert to 1080i @ 29.97 or 59.94.
Does it make any difference if we shoot in drop or non-drop frame?”

I would digitize the footage into FCP as 1080 24 using DVCPROHD then you have your master in HD.
The just downconvert only when you need to, from the Kona card. That way you will get the most out of the HDcam footage and the Kona card.

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA

[Dave Jenkins]

Thanks Gary, I’ll try that. We are finishing on DVD and web. Does this make any difference?

Dajen Productions
Santa Barbara, CA
G5 Dual 2 Gig – AJA IO & LA
Huge 1.2 Raid
FCP 5-OS X 10.4.1-QT 7