VariCam 720p24 Filmout

[Chris Bell]

I have never been impressed with software up-rezzing. I would import the footage firewire, edit, then export back to a 1200a via firewire. Then use either the 1200a’s 1080 24p output option or another hardware based converter to film out or an intermediate format like D5. The deck does a nice job.

chris bell

[Athenross]

Hi Chris,

Thanks for the response. So, the problem isn’t most likely the process of ingestion with the DVCPRO HD codec, but the software based up-rez to uncompressed? I have a Kona3 card, so should I try and export the timeline out using the card presets, or should I just use the deck and write it via firewire…or try both? Never hurts to have them all I suppose.

This means, however, that I cannot deliver Cineon files, instead the post-house would have to create them.

[Gary Adcock]

[AthenRoss] “I’ve never had to do a filmout and the post-house doesn’t usually deal with VariCam footage, so we are all a little new to this.”

bad start- there are multiple facilities that are familiar with varicam content and can handle the job without problem. – contact Steve Beres at plaster city in LA. Varicam footage looks great for filmout/ digital projection

[AthenRoss] ” I exported the timeline as QuickTime without any compression (selected “none” as compression) in 1280×720 and then exported that file to a Cineon image sequence (I did this because you cannot specify dimensions when creating Cineon from the timeline).”

OUCH…
I do not recommend doing DPX conversions from HD content. — your best bet it to lay it back to tape and take that tape to the post house to handle directly it will give you far better results.

[AthenRoss] “DVCPROHD is a naturally compressed file format, is it not? We captured HD-SDI” But over hdsi there is no longer compression unless you re-compressed the file the content via HDSDI should have been 8 or 10bit Uncompressed at capture.

[AthenRoss] “I know FCP subsamples the footage down to 960×720, so it would stand to reason..”
FCP does not sub-sample on it’s own — you do that —and the file that is that size is the native capture on the tape in camera.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL

[Athenross]

Hi Gary,

Thank you so much for your input!

[gary adcock] “bad start- there are multiple facilities that are familiar with varicam content and can handle the job without problem. – contact Steve Beres at plaster city in LA. Varicam footage looks great for filmout/ digital projection”

Yeah, I’ve heard a lot of people talk about PCDP, but we know the account executive at this facility, so we are being cut a deal.

[gary adcock] “OUCH…
I do not recommend doing DPX conversions from HD content. — your best bet it to lay it back to tape and take that tape to the post house to handle directly it will give you far better results.”

Hmm…problem #2. I don’t believe the facility has a DVCPROHD capable deck (they are more used to film and dual-link). So, even though DVCPROHD is compressed 7:1, creating a Cineon sequence directly from the tape would work fine?

[gary adcock] “But over hdsi there is no longer compression unless you re-compressed the file the content via HDSDI should have been 8 or 10bit Uncompressed at capture.”

It was probably recompressed because my capture settings were Kona3 DVCPROHD 23.98 VariCam, not Uncompressed.

Okay, so I need to call up the post-house and let them know we need to lay back the selects to DVCPROHD tape and create the Cineon sequence off of that. I don’t know if they know how that is done, and I certainly do not. I’ve scoured the internet and can’t find too much about Cineon workflows. Could you possibly direct me to a site or a whitepaper?

Thanks so much again, Gary!
By the way, how much do you charge for consultation, we might need it.
~Athen

[Gary Adcock]

[AthenRoss] “I don’t believe the facility has a DVCPROHD capable deck (they are more used to film and dual-link). “

how are you bringing it in via the Kona card then?

[AthenRoss] “So, even though DVCPROHD is compressed 7:1, creating a Cineon sequence directly from the tape would work fine?”
NO do not go to to DPX from video – why not rent an hdcam deck and send the 720p24 content from your editor out to the 1080 23.98 HD cam the Kona 3 will do this.

secondly you should never be working with compressed content at all for a final finish in post- the proper way would be to edit in DVCPROHD then redig the content as 10bit for proper color and highest fidelity.

you are NEVER going to get a good DPX file as a software conversion in FCP- it is not going to ever be what you want –

contact me offline about the consulting Athen, I do a considerable amount of work with Varicam ( I am the post instructor for the Varicamp in LA this weekend).

studio37@mac.com is my public email address.

gary

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL

[Tony]

So you are doing a feature without any lighting? Is this a documentary style film or is the director caught in in the Dogma rules or filmmaking?

Tony Salgado

[Athenross]

First, I apologize for my absence! Been a little busy with stuff. So sorry! I appreciate all of the help here, truly!

[gary adcock] “secondly you should never be working with compressed content at all for a final finish in post- the proper way would be to edit in DVCPROHD then redig the content as 10bit for proper color and highest fidelity.”

Yes, there was some confusion on my part as to the proper codecs to use. I know them now, however my system is not ready for uncompressed HD (thinking of buying the CalDigit S2VR HD storage solution, 230mb/s).

What I am still confused about is, after I output the uncompressed footage to 1080p23.98 (reads as psf 23.98 from my Kona3 card), how are the Cineon files created from the tape. I’m sorry, I thought I had it down, but now I am a little blurry again (I can hear you all saying “A little?!”).

Thanks In Advance!
~Athen

[Athenross]

[tony salgado] “o you are doing a feature without any lighting? Is this a documentary style film or is the director caught in in the Dogma rules or filmmaking?”

Documentary style, VERY documentary style.

[Gary Adcock]

[AthenRoss] “how are the Cineon files created from the tape.”

just give them the HDCAM master.

for the last time
Do not make DPX still files from video — it is a waste of time – not to mention that most cineon files are recorded in LOG color space – something you are not using

[AthenRoss] ” the uncompressed footage to 1080p23.98 (reads as psf 23.98 from my Kona3 card),”

that too is correct -most 1080 content plays back as psf (progressive segmented frame or progressive capture playing back as 2 interlaced fields – so 24psf plays on your display at 48i ).

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL

[Athenross]

[gary adcock] “for the last time
Do not make DPX still files from video — it is a waste of time – not to mention that most cineon files are recorded in LOG color space – something you are not using”

Sorry, I wasn’t planning on creating the Cineon files myself from the video, I was just confused as to how the process works from tape. Perhaps I can sit it on the procedure when we hand over the HDCAM tape.

[gary adcock] “that too is correct -most 1080 content plays back as psf (progressive segmented frame or progressive capture playing back as 2 interlaced fields – so 24psf plays on your display at 48i ).”

Aha, that makes sense.

Thanks again for everything!
~Athen