[Chris Clephane]

A LOT of people are doing this. The expected (and received) result is that you have to just work around the limitations of an SD lens on you HD camera.

Chromatic Abberations are big one. (unwanted red and blue halos (color shifts) on the image that appear when using wider apertures in low light siuations.) This usually happens around the perimeter of the shot. SOLUTION: Use more light…and avoid the extremes of your aperture…F2 and F16.

Ghosting and vignetting that appears from using SD 4:3 lenses at certain zoom factors on the Hd camera. Inconsistent passage of light through different outer areas of the lens…especially if your lens was not designed for 16:9 shooting. Occasional perceptibile swings in brightness during zooming. (Only through certain ranges of the zoom at certain set focus distances.) SOLUTION: Treat your zoom more like a prime. Move the cameraa instead of zooming if possible. Breat a continuous shot into several different setups, etc.

A general lack of luster/clarity when compared directly footage shot on the same camera with GOOD HD glass. SOLUTION: None. “Dems’ Da berries…” “That’s life.” ETC.

So again…yes, you can do it….a LOT of us are doing this exact same thing to save $$$. Go for it. Just expect a few significant limitations you will have to work around until you can afford the good glass.

Submitted from my iphone.

I edit video. I post sometimes.
I fix things. I eat marshmallows.
I play drums. I drink scotch.
I like TV.

Done typing now.

[Chris Clephane]

Why reinvent the wheel?

Any low-end video mixer will allow you to do a half-fade between two video sources. Put your plate on one SOURCE and the NTSC output on another SOUCRE for positioning. We have found this to be much quicker than trying to monitor on FCP/etc.

-C

I edit video. I post sometimes.
I fix things. I eat marshmallows.
I play drums. I drink scotch.
I like TV.

Done typing now.

[Chris Clephane]

“Next time I’ll just shoot the DV with a different shutter speed and frame rate and avoid all this!”

It sounds like you have made the same discovery so many of us have already…..

…converting to 24p re-introduces JUDDER.

Basics from film school….Pans too fast, etc., wrong shutter speed etc, introduce judder.

All the same motion issues with FILM become video issues when you convert 60i to 24p video as well.

You answered your problem with the above statement….

I edit video. I post sometimes.
I fix things. I eat marshmallows.
I play drums. I drink scotch.
I like TV.

Done typing now.

[Chris Clephane]

There’s always the “simple-no-thought” method…….

Use the built in hardware scaler.

(The scalers on the HDx and AJA boards are pretty stellar.)

—

Set the component output to SD 4:3 (with a crop)…hit RECORD on your Beta deck…..Play your HD timeline out in Cropped SD to the Beta deck…..

Redigitize the spot/clip/program in SD 4:3.

NOTE: All the potential Quicktime EXPORT SW conversion issues are negated….No flicker. No shimmer. No interlacing issues. No pixel shifts. Nothing to screw up. The aforementioned CONFORM method works well….but how fast is your machine? How much available storage space do you have? Sometimes THIS method might be quicker/better….. or maybe not….

Its just another alternative for ‘ya.

Not as elegant as the “CONFORM” method, but it works correctly EVERY time with little or no thought..in a predictable amount of time regardless of your machine’s hosrepower..

I edit video. I post sometimes.
I fix things. I eat marshmallows.
I play drums. I drink scotch.
I like TV.

Done typing now.

[Chris Clephane]

Craig,

Thanks, you nailed it.

The folders at the root level of the drive were named:
BPAV
BPAV 2
Charlotte 1
Charlotte 2

Based on your feedback…I created four new folders at the root level of the drive…named them ONE, TWO, THREE & FOUR.

Dropped each of the above listed folders into their own individual numbered folder.
I then renamed BPAV 2, Charlotte 1 & Charlotte 2…….to BPAV.

And everything works. I can see all of the footage.

Thanks again.

-C

I edit video. I post sometimes.
I fix things. I eat marshmallows.
I play drums. I drink scotch.
I like TV.

Done typing now.

[Chris Clephane]

That’s about what we get. Outside of simple quick transitions….Most (anything) on this system seems to render at 1x(realtime) or slightly slower.

10 min usually takes 10 min for us as well. (primary system -quad proc – 2.66 dual/dual)
-C

I edit video. I post sometimes.
I fix things. I eat marshmallows.
I play drums. I drink scotch.
I like TV.

Done typing now.

[Chris Clephane]

Canopus ADVC-55 (Analog in ONLY) Works great with producer. (Capture only)
Canopus ADVC-110 (Bi-directional Analog/DV – DV/Analog) …also works great with producer.
(Capture and playback/monitoring.)

WE use the 110 on location with a mac mini to check keys shot at remote locations. Ingest from P2 using producer… transfer test clips to AE CS3… composite in AE….View final through the 110 from within AE (FW playback). Composite/render…send back to producer for realtime playback to check key/motion.

-C

I edit video. I post sometimes.
I fix things. I eat marshmallows.
I play drums. I drink scotch.
I like TV.

Done typing now.

[Chris Clephane]

I can’t answer your question—your information/query is too general– it would be helpful if you include some additional information:

1- Your clip lengths (total amount of footage) that you are trying to import. Include bitrate (25/35,etc)
2- Your machine (4 proc/8 proc MacPro/G5, etc.) and processor speed/RAM, etc.
3- Your storage. (Single drive or SCSI/SATA raid)
4- OS/QT/M100 version.
5- A description of HOW LONG it is taking to import convert. (ie. a 4 minute clip loaded directly from the camera is taking 40 minutes to convert, etc.)

THX.

I edit video. I post sometimes.
I fix things. I eat marshmallows.
I play drums. I drink scotch.
I like TV.

Done typing now.

[Chris Clephane]

On a faster system it would ELIMINATE your need to use the convergent box.
(The Media100 software performs the conversion from HDV to a “production codec” in realtime on ingest.) Your camera connected directly to the CPU via firewire in this scenario.

—

But yes, it seems if you are already using the convergent converter…then the new “HDV capture” support might provide you with little or no additional benefit. Anyone WITHOUT a convergent box however…gains some great new capabilities—> A highly simplified ingest workflow!

—

If you really want to split hairs….You might want to compare the results of the convergent box to the software only approach. Sometimes one can look better than the other depending on the particular source footage.
(My limited experience with the convergent box has produced STELLAR footage from HDV on the HDMI to HD-SDI signal path. We capture to ProRes 422 for most projects. Most of our HDV usage has been locked-down, daylight lit landscapes with minimal movement. This minimizes HDV’s inherent weaknesses. We use P2 & HDCAM for our daily production.) Again your end quality will have a LOT to do with your subject matter, lighting, movement, and shooting style.

—

I still haven’t met anyone yet who puts finished NATIVE HDV back to tape. (Most people we work with use it for low cost HD acquisition “C-Cameras” or for “throwaway cams” in dangerous POV/dusty/wet productions.) It gets converted to UC or ProRes on ingest and LONG GOP MPEG-2 never enters the workflow. The footage tapes go back in the library.

It seems like a really good cost-effective idea–especially if you also own one of the Mini decks. But again, my gut tells me you will need to investigate Premiere or FCP’s capabilities to do that.

Good Luck.

I edit video. I post sometimes.
I fix things. I eat marshmallows.
I play drums. I drink scotch.
I like TV.

Done typing now.

[Chris Clephane]

In regards to my earlier post that I removed…..(gotta triple-check before posting!)

Producer DOES support HDV….BUT! you HAVE to have the Quicktime HDV component installed on your system for the HDV input option to appear.

(( We do not work with HDV drivers/FCP/Premiere on all of our systems. One of our producer systems did not have FCP or Premiere installed on it…so HDV did NOT appear as a valid input option.
I wrote and retracted an earlier reply based on observations/experiences on THAT system…then quickly realized something was amiss in my observations….because all of our OTHER systems ARE HDV capable. It created some momentary confusion to say the least…)) Thanks Wick for the “missing nugget of information.”

IMPORTANT: JUST installing producer is not enough to get HDV capability. Your camera’s capture utility should (hopefully) install the Quicktime HDV component…
FCP and Premiere seem to install it as well.

———————————–

HDV NATIVE editing.

This would also mean HDV print to tape. NO.
For clarity NO.

The Media100 app transcodes HDV to a more robust production codec on ingest/post-ingest.
There is NO Camera Native HDV (LONG GOP-MPEG2) data in the Media100 timeline to output back to tape.
You need a different program to edit your HDV footage natively and print back to tape in the HDV codec/flavor/variant your particular camera supports.

—–

Good luck.

I edit video. I post sometimes.
I fix things. I eat marshmallows.
I play drums. I drink scotch.
I like TV.

Done typing now.