Carsten Orlt
Forum Replies Created
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typical ‘Bang for bugs’ problem.
Aja does a good but not ‘great’ job on down (or up) conversion.
The term ‘Broadcast quality’ is unfortunately a term that is not defined by how it looks but I guess about if the tech specs are met, e.g. colour space conversion, luminance levels, blanking etc.
So the much more specialized and more expensive Terranex will do a better job, but you have to pay for it. If your budget doesn’t allow for that, then the Kona quality is what you have to live with.
One thing I noticed is that Color does actually a better downconvert then the ioHD which I have (and according to Aja is based on the same hardware downconverter as the Kona). Export you FCP HD seq to Color and change the project setting to SD and adjust the picture via the Geometry room. Needs a lot of rendering, but this is back to the bang for bugs problem.You should though look at the converted image on a SD CRT monitor to make the final judgment as the JVC introduces another scaling step and this might effect the end result. I doubt though that the result will be much different as you said the Terranex looks better even on the JVC. But maybe the Kona conversion will look acceptable on the SD CRT (if you can’t spend the money on the Terranex conversion).
but maybe somebody else has another opinion on this?
Cheers Carsten
Carsten
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best collection of info I know off: https://www.kenstone.net./fcp_homepage/fcp_homepage_index.html
you have to sift through the articles that are not of interest to you, but it’ll answer a lot of questions. -
you should seriously look for another job.
you lost it my friend, big time
and yes your are a jerk, and the only I know who is proud of it.the only problem you have is that you can’t get over the fact that nobody needs your expertise anymore and can save the money spent on wanna-be big shots like you.
I’m so glad the digital revolution came along!!!
enough said
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Tim,
You already said because of the amount of footage it might be daunting, but I just set up a system for friend which I just want to let you know about.Same source for my friend: HDV footage. Problem for my friend: he wanted to edit on his system that only has an SD output card.
Here’s what we did. Capture all HDV footage via firewire just using capture now (he organized it in one folder per tape). Create a droplet in Compressor to convert from HDV to DV (just standard Apple preset) Conversions can be done overnight, so not really down time.
Keep the HDV somewhere and edit with the DV clips, but never rename the quicktime mediafiles. Once you finished you project, take your seq into a new project, set the seq in that new project to HDV and relink to the original HDV clips and voila all back in HD. Now you can export that via FCP/Compressor/put back to HDV tape and convert via posthouse etc.
All editing is done in SD, but master is still HDV and therefor future proof.Because converting via compressor keeps all TC etc intact and you can do it as a batch, it can’t be easier.
Carsten
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Doesn’t E/E mean: electronic to electronic, old term from tape time meaning the output signal of a device is directly taken from the input of the device, not from tape.
In your case this would mean: when playing back your SxS footage the output is 8 bit. When you connect an input signal to the camera the signal is passed through the camera to the output in full 10 bit.
So when playing back the footage the ioHD control panel is correct saying its 8bit. Not sure if the colour problems you see are because you have an 8bit signal connected to an 10 bit input. But you can switch the ioHD to 8 bit input via the advanced video setting dialogue in the capture settings in FCP.
Carsten
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maybe set device control to ‘non-controllable device’ so FCP doesn’t control the VTR/camera
start the tape manually and use capture now again.
haven’t tried myself, so this is just an idea at his stage 🙂Carsten
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Andrew
Your converted clips will be NOT ok in the timeline. You can’t use Cinematools to convert from 24 Fps to 29.97.
Think of it this way: 1 sec can be divided when recording video in either 24 or 29.97 (or 25 in PAL countries)
When you convert a 24 clip into 29.97 via Cinematools you are not changing the NUMBER of frames but only how the existing number of frames are played back. Take a example clip of 240 frames at 24 = 10 sec, 240 frames at 29.97 = 8 sec.To correctly convert 24 to 29.97 you have to convert the 10 sec at 24 into 10 sec at 29.97, ergo adding frames every second, or better said repeating frames to fit the 24 into the 29.97.
FCP should do this when you throw the 24 clip into your 29.97 timeline. As I’m in PAL land somebody else might want to give you the details and pitfalls of this process.
As to why some clips slowed down: Only guess is that the footage was shot with a Varicam and shot at a different frame rate? If this is the case and nobody told you when you got the footage its kind of complicated. That’s the first question you have to answer before you can go on.
Hope that helps a little
Carsten
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Not sure about the 24Fps bit, but I just converted HDV 1080i50 to DV using compressor and same timecode – no problem.
So I would do a simple test.
Make a project with some clips. create a little seq with some cuts.
Close FCP. open compressor. put the same clips into compressor choose the codec you like, choose a dif folder (naming options area up to you, but be aware that when you relink in FCP you have to know what is the clip that FCP wants) – and submit.
Open FCP, highlight your clips and your seq and select relink, point to the folder with the converted clips and it should be all peachy.
worked in my case without problems.
Carsten
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everything Jeremy said plus: If you only need SD have a look at the io range. There are 3 models only doing SD that are cheaper then the ioHD.
Carsten
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haven’t done it but isn’t the following made for you problem?
Aja ioHD control panel > format tab > SD to SD options (bottom right in window) > (I think) you would choose H crop?Carsten