[Bouke Vahl]

Jared,
If you are shooting 24p for the ‘film look’, forget it.
the DOF will give you the film look, as well as a zillion other things.
Added pulldown is a trick that has been invented to convert film to NTSC video, and has nothing to do with a theatre experience.

Also, forget about pulldown in PAL. The whole idea behind 24P in video is to:
a: be able to go to Film without speed change (except the 23.976 to 24)
b: be able to go to NTSC with pulldown
c: be able to go to PAL with a slight speedup (24 to 25)

If you are going to add 30 fps to the mix, you need a very expensive / difficult / quality loosing conversion.
(Especially the mix will make things very hard)

Don’t do it, stick to 24 and play out @ 25 to Pal

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

I don’t think that will help.
I’ve made a scene detector myself based on about the same principles.
It is very hard to detect dissolves / fades, as there is not much change between different frames.
Flash frames (aka jump cuts) are also very hard to detect.

It is however possible to detect the overall lightness of a shot.
And there is software to do so. (including some stuff i’ve done but never published)
But it sounds very doable to do it manually if the output is just a few minutes.

Or, if the originals are a still image sequence, why not filter on time and remove those after dark?

For the OP, how much do you have that you think it might be worth automating it?

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

PVW is a lot better than UVW, but still not the best you can get.
Just wear out the heads (You definitly will with this amount of footage) and then buy something else…
(Probably cheaper than a revision)

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

Bitrate and quality have a very strange relation.
The noisier the original, the higher the bitrate must go to have good results.
Next there are the different codecs. MpegII based codecs give great results on very low datarates, and the I frame only variants are easy to work with.
There is (a bit) of consensus that recompression to the same or alike codec yields the best results. But that is theoretical.
If you can, (that is, probably not with HDV or H264 material), use the native codec as long as you can. It is fast (no recompression) and storage efficient.
For going from digibeta to HD-cam, i would think that the scaling applied is more important than the datarate. Do test a lot of options, and let your eyes decide.

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

Either log first and then batch digitize, re-stripe TC, get an Avid (if it takes twice as long on FCP the Avid is paid for on the ingesting job alone), or ingest without TC (next to work on Avid, that would be my option, keep a digital copy, you can afford it at HDV).

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

Walter,
the OP asked ‘any ideas’
Well, i have some,
Do you?

Now i’m REALLY tired of this, don’t bother to ask me again on the subject (That goes for you and Shane, not for the OP).

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

[Shane Ross] “Why the heck does this need to be Windows compatible? The OP didn’t mention any need for that.”

No, he did not, but i wanted to mention it anyways.

To answer your question:
CAUSE IT’S 3000 HOURS!

Perhaps you work in a Mac only shop, most companies that have more than a few people around use windows or a mix.
Now, after ingesting 3000 hours, how are you going to explain to anyone that windows use is not possible?

Now answer my question:
You are answering more questions alone than the rest of the Cow users together, yet you feel it is strange to warn someone in advance?

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

[Michael Sacci] “I would test DVCPro50 also, it would probably be smaller than ProRes, is 4:2:2. It is 8-Bit also.”

And NOT windows compatible.
With that amount of footage, i would not take the risk..

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

IMX 30, 40 or 50.
422, fairly small and good enough

Best gain in quality is to get at least BVW players to ingest.
(The noise of an UVW will kill you..)
Or experiment with SX decks. (Beta SP compatible, dirt cheap second hand)

hth,

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

Karim,
It depends on how the high-res media is stored.
As impored QT’s with reelnames or (as you suggest), as MXF files?

If the high end is stored as QT, you should be able to reconnect with this tool:
https://www.videotoolshed.com/?page=products&pID=41

But if it’s MXF, you first should convert them to QT.
(And of course then you don’t know what files you need…)

I have made another tool that can extract the files used from the original disks. It’s here:
https://www.videotoolshed.com/?page=products&pID=40

But, that one does not allow you to point at a folder where you want to extract from, but that can be fixed.

Most important is, how is the high-res media stored?
(Each disc including XML files inside a subfolder with logical names?)

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s