Shooting DVCPRO HD (hvx) – Delivering HDCAM-SR

[Noah Kadner]

Why not shoot 1080/60. Simpler conversion process IMHO.

Noah

[Jeremy Garchow]

I’d shoot 1080p24 (which is really 24p in 60i). This will give you the aesthetic look without having to deal with pulldown/crossconverion. 1080i will really chew up time on your cards, though.

[Steve Voyk]

Hi,
Along with the others, I too, would shoot 24p which records it as a 60i (59.94) signal.

The HDCam-SR deck can record 1080/59.94 both in 4:2:2 and 4:4:4, however since your material is only 4:2:2, output it as such since a little known issue is that HDCam applies higher compression when recording in the 4:4:4 mode. Infact the biggest loss in this case is the initial DVCPro 100 codec.

Regards,
Steve

[Jan Crittenden livingston]

Hi,

If it were me, I would shoot in 1080/24PA. This will be 24 progressive frames over a 60i signal. Import and remove all of the extra stuff so that your editing is done on a 24P timeline. This will make you editing easy and you won’t have to concern yourself with where not to edit as you would in the embedded 24P/60i mode. Once your edit is finished, output to 60i with the pull-down reintated and uncompressed to the HDCAM-SR machine.

Good Luck,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jeremy Garchow]

[Jan Crittenden Livingston] “and you won’t have to concern yourself with where not to edit as you would in the embedded 24P/60i mode”

Jan, can you clarify what you mean by this? I don’t get it.

Thanks!

Jeremy

[Jan Crittenden livingston]

Hi,

If you are recording 24P over 60i, the the frames are recorded as follows.

AA BB BC CD DD.

There are a number of places that are not good for editing, and in fact the most appropriate places for a sure thing, read non-problematic, is at the AA frame.

If I record 24PA then the sequence is:

AA BB BC CC DD and then I ingest into the NLE with an automatic removal and the frames then look like the following:

AA BB CC DD.

Edit where you want.

On export have the NLE reinsert the pull-down so the video goes back to a smooth 24P and you have:

AA BB BC CD DD.

Hope that helps,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jeremy Garchow]

I see what you’re getting at here. This is if you ever want to take your master back to 24p you then have a constant 3:2 cadence across the tape. But, if you know that you will never need a true 24p master, why go through the trouble? I am just asking to further my knowledge, not to flame. The original poster said he’s going to lay off 60i, why not keep everything 60i? No surprises that way. I edit a ton in 24p in 60i and have never had a problem with broadcast, even thought the cadence might be off a bit across the entire tape.

Jeremy

[Noah Kadner]

It could be an issue with broadcast standards if cadences are not consistent across a tape. Going to 24p would eliminate that risk.

Noah

[Dfarrell]

The final master that I am deliverying is going to be on HDCAM-SR 1080/59.94. However, I believe the theater chain is doing their own conversion to D5, 720p/59.94 for projection. Frame accurate edits aren’t ALL that important, so can I shoot 1080/24pA on the HVX, import from the firestore (not sure how I do that one yet either!!) edit in FCP, then render out an uncompressed QT file, bring it to an online HD suite and layoff to and HDCAM-SR?

[Jeremy Garchow]

HDCAM-SR has 1080PsF @ 24 capability if you want to record that way as well. If you decide to work at 24p native, everyone is right, shoot 24pA.

Jeremy