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PREMIERE_HD
Hi
I am a new Premiere user and i want to ask if someone has tested the software with HDCAM format. If it handles realtime playback with sound for an entire feature movie, if it has some realtime effects. And if
well configurated with a big computer, Dual fiber channel disks has performance similar to an Avid system or FCP.Thanks
Tomas
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2 Replies
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Premiere Pro has a couple of HD options for workflow.
The soon-coming (or possibly here) Matrox Axio will do uncompressed HD on SCSI RAID drives, I don’t think it does HDcam native.
The option with one feature film under its belt and more in the hopper is the Prospect HD system from CineForm. The codec isn’t HDcam native (more on that later) but better. In fact it is high quality enough to post online and image back to film for “Dust to Glory” which had a considerable amount of HDcam as well as several film formats and various video formats. The CineForm HD codec is 4:2:2, full raster 1920×1080, wavelet encoded video. The even better news on this system is that it will run with an IDE RAID. There are two systems at Laser Pacific that were used for D2G. The wavelet technology eliminates the two most hated artifacts of video compression, blocking and mosquito noise…both caused bt Discrete Cosign Transforms, which almost every other compression system is based on, including HDcam.
As far as handling HDcam (not HDcam SR)…you should probably try to avoid posting in HDcam native if at all possible. HDcam shoots 1920×1080, but really only records 1440×1080 to tape. That’s a loss of 25% of your horizontal resolution right out of the gate. It also undersamples chroma to 3:1:1 (remember lowly old DV is 4:1:1) It’s a fact of life that that is how they cram the data on the tape, but post production will require more trips through the codec at some point.
Color correction, any effects, compositing…it all takes rendering and at some point a new trip (or tripS) through your post production video codec of choice. I’m not sure that the constant encoding from 1920×1080 4:2:2>1440×1080 3:1:1 and decoding to 1920×1080 4:2:2 is the way you want to go.
Acquiring on HDcam will certainly deliver content commensurate with your crew talent, but using the HDcam codec in post is pretty destructive…
TimK
Kolb Syverson Communications
Creative Cow Host
2004, 2005 NAB Post Production Conference Premiere Pro Technical Chair
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net -
This sereis of pages might be worth a look …
https://www.postmagazine.com/post/article/articleDetail.jsp?id=109319&&pageID=1
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