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Forums AJA Video Systems OT: Question for Walter on HD

  • OT: Question for Walter on HD

  • Mark Maness

    November 10, 2005 at 3:03 pm

    How is it that you can shoot “Good Eats” in HD, edit using the Kona2 and FCP, and downconvert to SD for final broadcasting and the signal looks so beautiful? Are you using a hardware downconverter other than the Kona2? I’m very curious because our produciton company is looking at HD other than HDV and you know that the costs involved are still very high on the camera and tape machines. I wanted to ask you because I’ve seen your work and I am a loyal fan of Alton Brown and “Good Eats”.

    I know what I have said is very general and probably a little vague but this is a whole new world that we are jumping into and you know as well as I, the costs are very high by today’s standards for SD video equipment. So I just wanted to pick your brain on this. And if you are reading this Gary, what’s your feelings on this, too.

    _______________________________

    Wayne Carey
    Schazam Productions

  • walter biscardi

    November 10, 2005 at 3:20 pm

    [Wayne Carey] “How is it that you can shoot “Good Eats” in HD, edit using the Kona2 and FCP, and downconvert to SD for final broadcasting and the signal looks so beautiful? Are you using a hardware downconverter other than the Kona2? I’m very curious because our produciton company is looking at HD other than HDV and you know that the costs involved are still very high on the camera and tape machines. I wanted to ask you because I’ve seen your work and I am a loyal fan of Alton Brown and “Good Eats”.”

    Hi there, well first off, the Kona 2 is an outstanding down-converter and everything I’ve done in HD and downconverted to SD through it is pristine. I actually would encourage anyone who’s thinking about HD production and also needs an SD output to look at the K2 since it does both in real-time.

    Second, we actually have a two step workflow with Good Eats. The show is cut in SD in-house via an Adrenaline and then I conform it to HD with the K2. Alton has a wonderful editor who works with him to cut the SD show while I’m doing all the animations, which has kept me going almost 24/7 this production go-around. I get an OMF from her and bring that into FCP via the Automatic Duck and conform to HD.

    Third, the reason why the show looks so good is that they have the best production crew I’ve ever met that really knows how to light a set like nobody’s business. Add an HD Varicam to the mix and it’s easy to understand why everything looks so good.

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

    “The Rough Cut,” an original short film premiering December 7th in full High Definition in Atlanta.
    rsvp@biscardicreative.com to reserve seats.
    https://www.theroughcutmovie.com

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

  • Mark Maness

    November 10, 2005 at 3:36 pm

    Thanks for the response, Walter. So basically the show is edited twice (an SD edit and then a repcature in HD). Neat! Let me say that your animations are awesome…. I love the Monty Python look. I already knew that the K2 can downconvert but I didn’t know how well. We are currently using HDV for our HD budget format and I haven’t been able to capture HD other thatn HDV just yet. I’m still waiting to purchase the Miranda HDV-Bridge. But I do have to say that downconverted HDV to DV is still much better than standard DV. I just have to adjust the black levels in post. Thanks for you input, Walter.

    _______________________________

    Wayne Carey
    Schazam Productions

  • walter biscardi

    November 10, 2005 at 4:25 pm

    [Wayne Carey] “Neat! Let me say that your animations are awesome…. I love the Monty Python look.”

    Thanks! They’re definitely a lot of fun to do though it seems the hardest part is just preparing all the artwork. We’ve been working almost 6 days now on my current animation and I’ve just only started the animatic two days ago. We’re still pulling elements and prepping them! But we have a great time doing them.

    As for the HDV thing I don’t work with HDV at all so I can’t tell you how that works as far as an SD downconvert. All my HD work this year has been Varicam, including our short film.

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

    “The Rough Cut,” an original short film premiering December 7th in full High Definition in Atlanta.
    rsvp@biscardicreative.com to reserve seats.
    https://www.theroughcutmovie.com

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

  • David Battistella

    November 10, 2005 at 8:48 pm

    I would not look at HDV as a serious production workflow.

    David

  • Marion Laney

    November 14, 2005 at 11:33 pm

    Hi Walter,
    Thought I would jump in. We looked at HDV for our small camera shots to compliment the Varicam but but for various reasons have decided to stay with upconverts of the 100a with an anamorphic until the 200 is available. Still waiting and hoping it will arrive soon.

    Wayne, glad you enjoy our show. Most of us have been with the show since we began aquiring it on a XL1 (yikes) and we still learn something each day.

    Marion

    Marion Laney
    Director-DP-sometimes Editor
    ideaWercs, inc.
    Atlanta, Ga. USA
    Producing in HD&35mm&SD
    Food Network series “Good Eats” and others.

  • walter biscardi

    November 14, 2005 at 11:46 pm

    [Marion Laney] “We looked at HDV for our small camera shots to compliment the Varicam but but for various reasons have decided to stay with upconverts of the 100a with an anamorphic until the 200 is available. Still waiting and hoping it will arrive soon.”

    And I’m sooooo glad you stayed with the 100A! Whenever somebody says to me they want to shoot HDV, I tell them to get a 100A (or I guess B now) and then upconvert it to HD at the end of the process. If it’s done right, it looks very much like the Varicam.

    With any luck, we will have a 200 at our movie premiere next month. Maybe we’ll finally get to play with one!

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

    “The Rough Cut,” an original short film premiering December 7th in full High Definition in Atlanta.
    rsvp@biscardicreative.com to reserve seats.
    https://www.theroughcutmovie.com

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

  • Mark Maness

    November 15, 2005 at 2:11 pm

    Guys… don’t get me wrong. Maybe jumping on the HDV wagon was not a good idea but Panasonic’s P2 idea just seems so much like a seroius waste of money. Only 8 min of HD per card….. Come on…. That’s extremely expensive to run. That was the only reason our company didn’t consider Panasonic. HDV tapes are only about $16 per tape and our XDCAM discs are about $30 per disc. Much more cost effective than that of P2. Please don’t get me wrong, P2 is a good idea only if the cost of the P2 cards were the same as HDV tape cassette (not a case of tape). Everybody has their own opinions on what’s best but what it all boils down to is COST. Ok…. the camera only costs about $6000 but the media will cost you a fortune unless you purchase a firewire drive made for this camera…. then you have the problem of archiving it – there’s another format.

    Anyway, guys… I value your opinions and I, too, have opinions on this as you can read. We’d all love to have large budgets and shoot with Varicams and Pany 200’s but that’s not the case with most of us. You have to look at it this way. It’s all in what we can afford. And BTW, look at HDV that has been downconverted to DV, I’ll bet you’ll notice it looks much better than that of standard DV like the XL1 can shoot.

    _______________________________

    Wayne Carey
    Schazam Productions

  • Marion Laney

    November 15, 2005 at 3:21 pm

    Hi Wayne,
    Don’t get me wrong, I am sure HDV is perfect for many projects, just not mine. As with some of the methods I have developed to shoot our series for the “network” the decision to avoid HDV was driven from “executive” edicts. I am sure I could have gone onto the chipset outputs (as others have reported) to capture a pre-long GOP output and jury rigged a signal that met the “standards” but I decided to wait until a camera came along that met the specs. In the meantime I have made do with the 100a for small camera cut ins. As always there are multiple ways for delivering the goods. Good shooting!

    Marion Laney
    Director-DP-sometimes Editor
    ideaWercs, inc.
    Atlanta, Ga. USA
    Producing in HD&35mm&SD
    Food Network series “Good Eats” and others.

  • Mark Maness

    November 15, 2005 at 3:49 pm

    Thanks for all of your input on this. We all know this is a new and exciting area for all of us. I do agree with what you are saying about HDV and the newer HD stuff that’s available. I’d love to be using the Varicam but I’m relegated to using HDV for budgetary needs. So… I’ll have to make the best of it. Now, if I could just get my superiors to let me purchase a Miranda DEC-Bridge so that I can ouput true digital HD-SDI.

    Now….. Marion, I do have a question for you on shooting “Good Eats”. I love those in the oven shots and I am curious what camera you are using to get those wonderful shots.

    _______________________________

    Wayne Carey
    Schazam Productions

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