Brian Deviteri
Forum Replies Created
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Look into the white paper of Dust to Glory. I don’t have the link handy, but it’s on the Premire Pro user’s group page. They discuss these issues a bit in there, but they use Cineform Prospect HD with Premiere to acheive the online end product and Avid Xpress DV (I think) to do the offline.
I’ve also had some GREAT discussions with the Cineform folks and they are very helpful. If you contact them directly, they might have a solution for you…
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I believe at this time you will need to playback the footage in an analog-to-digital conversion (Matrox or similar, maybe Cineform Prospect?) to get the material into Premiere in an editable format. I do not know of any other way to convert the MXF files from the P2 cards into an AVI flavor that Premiere can handle. I know Panasonic mentioned a converter program (based on the Firestore DV File Converter program), but I don’t know if you can get MXF converted to AVI with the DVCPRO50 codec in that one, or any other flavor that will work in Premiere and preserve the 4:2:2 color space… something to look into.
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I believe the confusion is when you bundle the cards with the camera. In those cases, you save a few hundred dollars.
$5,995 the camcorder
$6,995 the camcorder and two 4GB P2 cards
$9,995 the camcorder and two 8GB P2 cards -
try this, it should work… worked on a computer in my office that someone “accidently” upgraded to QT 7 that was running Avid Xpress Pro:
https://www.apple.com/support/downloads/quicktime652forwindows.html
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You could dump all the files off to an external hard drive or RAID “server” source so you do not have to edit directly off of the HR-1. It has an operating system that I’ve been told is basically Windows XP based, so it can do file transfers without a PC attached and things like that. Kinda cool…
Since Cineform does not ship a “DV File Converter” program like Firestore does, the AVIs or whatever extension you are using, are all Cineform based files that can definately work in Premiere Pro (and probably Sony Vegas) with the right plug-in installed. Aspect HD has the Cineform HDLink utility to convert .M2T HDV files to Cineform .AVI’s, so I guess Cineform could morph that tool to perform similar functions to the Firestore DV File Converter, but I doubt that would address any audio conversions or processing. Most likely it could be upgraded be to be able to convert the Cineform AVIs to uncompressed AVIs, QuickTime for Final Cut, or OMF for Avid since both of those are closed format systems (and both based on Quicktime technology) and they will not allow the Cineform codec into their systems… so that could be the only way to edit material shot on an HR-1 within Final Cut or Avid.
As for the Cineform AVIs and audio in Premiere, I think it’s a 5.1 track unless you convert the embedded audio to mono tracks and group them on the timeline. I can’t see any other way that this could work unless Adobe updates the way Premiere does audio or unless Cineform adds a different method to record up to 6-channels of audio.
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I have a client that records a lot of “conference” and event style video with panel discussions, “round table” discussions, those kind of things with occasionally lots of people talking.
At the moment, they live mix audio from generally 4 or 5 sources. When it is a 4 source mix with one camera, they basically live mix two sources to channel one and the remaining two sources to channel two. As you can imagine, this can be a bit chaotic if someone screws up the live audio mix to tape. For their 5 audio sources, generally it is a two camera shoot so two sources go to camera 1’s channel 1, two sources go to camera 2’s channel 1, and the remaining source (usually a moderator or something like that) is split to channel 2 on both cameras and also serves as a sync reference marker on the timeline.
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Tim,
Yes, Cineform has not explained their “recording” of audio very well for this unit. I know if they implemented a method to record each of the 6-channel streams into mono files, it could work, but essentially it would be performing the “breakout to mono” function within the recorder then.
As for their response, yes, it’s definately a how does the clip import into the timeline and what will I see. It makes sense with the way Premiere Pro handles audio though, but that’s not the way I want to edit 6-channels of audio. I cannot even imagine the difficulties I would run into with that kind of setup for precise audio edits and EQing for individual tracks.
Unfortunately, the “breakout to mono” option is looking like the only option right now. As I posted above, it looks like I would have to bring in the video, then bring in the 6 channels of audio, group them all together on the timeline and go from there. Not exactly the best method, but it’s a WHOLE lot easier than dealing with a combined 5.1 track of audio. I can work with this, but it may add a little time to an edit, which isn’t necessarily a bad thing as I’m reviewing footage anyway.
I too have e-mailed Adobe about their audio support in Premiere. For a 5.1 track like this, I’d really like to see the ability to “expand” the 5.1 track with a pull-down into 6 seperate mono tracks (that are still linked with eachother and the video) and that can receive mono audio effects. Then for the main track I’d like to be able to pan each mono clip to channels and mix. Will it happen? Probably not anytime soon…
Brian
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Dave,
Yes, the “breakout to mono” I’m afraid is probably the only option here. To maintain sync amoung all 6 of the channnels with the video, I’m guessing I’ll have bring the video into the timeline, then bring each of the 6 mono tracks into the timeline individually, then select all 7 of the source clips (1 video, 6 audio) and group them together.
As for HDV, this Cineform HR-1 isn’t an HDV recorder – it records HD-SDI streams. HD-SDI is basically uncompressed, if the camera can output it that way. The HD compression or HDV compression happens post stream during recording, either to tape or disk. So essentially the HR-1 can record uncompressed HD directly to the Cineform Intermediary codec (which is a really nice form of compression and pretty close to lossless if you ask me) instead of going to HDV, DVCPRO HD or other HD compression schemes (which tend to show compression in many situations).
Brian
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LTO tape has been suggested…
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Maybe I’m missing something here, but if the CCDs are 1080/60p native, then why can’t we record 1080/60p to the P2 cards?
While on this topic, what is the image size and pixel aspect ratio of a 720p recording and 1080i (and 1080p) recording on P2 cards?