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P2, Animaorphic, D-beta output and workflow
Sorry to bug you guys, but I’ll be cutting commercials that I’ll be taking off P2 cards and I was wondering what the most effient way of working with footage is,it’s HD and Animorphic. What is the proper way to get it to a Digi-Beta Broadcast master 4×3. I’m an AVID guy transitioning to FCP. I was told by the previous editor that I would have to take my 16×9 seqeunce and drop it in a 4×3 sequence so the client can view it, then for the D-beta output I would have to do a pulldown of my locked sequence in Digital Fusion or After effects and the bring it back into FCP. Is there a more effient way to do everything in FCP?
I’m using FCP 5.0 on a G5 with a Blackmagic 10-bit card.
Thanks,
George
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4 Replies
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Just get a capture card like a Kona LHe, Kona 3 or Decklink models..they can downconvert and crop of the sides on the fly as you output. And allow you to monitor your footage on a broadcast monitor so you can color correct.
Simple.
Shane
Littlefrog Post
http://www.lfhd.net -
Hey thanks,
I know that that will probaly be the route that we take in the near future for sure, but in the meatime do of any other work flow until we me make the switch over?
George
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The only way to output HD footage to SD tape is via a capture card. If you have a Standard Def card, then you can export a Quicktime reference movie, reimport that, drop it into an SD timeline, resize it so that it isn’t letterboxed then render….and output. You’ll need a capture card to output to digibeta no matter what route you take, so why not get an HD card now? They cost about the same, or slightly more…and you are now set for the future.
Or…export a self contained QT Movie, copy it to a firewire drive and take it to a post facility that uses FCP and have them output it.
Shane
Littlefrog Post
http://www.lfhd.net -
Hi George
Something that no one seems to have flagged up:
1. In HD there is no such thing as anamorphic – it’s square pixels all the way.
2. Only FCP 5.12 / 5.14 can interpret the full range of DVC Pro HD codecs that the P2 cameras use.
I guess (1) could happen if they put an anamorphic adapter on the lens (why?). BUT what you should be aware of is that we had issues on a recent project dropping P2 footage into After Effects 7 – it interpreted the footage AS IF it were anamorphic. Which was odd.
FCP 5.1.4 looks like a fairly safe release (making sure 3rd party plugins / hardware are installed / re-installed after).
As for Digi layoff, you’ll need a realtime downconvert card/box or a re-render in a new timeline set-up for uncompressed SD, dragging your cut HD timelime into your viewer window and inserting onto your new timeline… Making sure your distort is set correctly for the sequence once it’s there. (right click on compliled video on timeline, and say show in viewer. Then click on motion tab to change distort value of whole seq)
At least I think so! I’m still making the Avid -> FCP transition too!
Good luck.
Ben
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