[David Battistella]

Bob,

You are over reacting. There is no bluff. Choose easy setup and select KONA 2 8 bit to DV. Your DV sequence will now play out the KONA.

It does not send it down the firewire. If you want to do that then choose easy setup NTSC DV.

operator error on this one here Bob. No point in ripping the whole AJA community with a post like this.

Cheers,

David

Peace and Love 🙂

[David Battistella]

I haven’t been using a lot of HDV but I would work it this way depending on budgets etc. (let’s face it, the budgets will dictate the approach)

1. Capture and edit HDV natively
2. Media Manage the HDV timeline to an Uncompressed 10 bit sequence
3. Color Correct and FX
4. Output to HDCAM

People will insist on recapturing to Uncompressed but I think it is cleaner to recompress than to capture via the component OP’ of the HDV deck (sony or Canon footage)

The JVC still only works with lumiere, so that is a different story.

Unlimted Budget

Shoot HDV Transfer to D5 or SR.
Capture to DVCPRO HD for offline
Recapture online to Uncompressed 10 bti
CC with Final Touch HD and Pro Colorist
Ouput Dual link from Kona to SR Deck

David

Peace and Love 🙂

[David Battistella]

You may also have to render the incoming and outgoing shots. You see these Jumps if stuff is not rendered.

David

Peace and Love 🙂

[David Battistella]

How are you doing your slow motion in AE.?

Are you using time stretch?

Do you have frame blending and motion Blur ON?

What factor are you slowing the footage by?

Is it the same footage for FCP as AE?

Please. Slightly more specific questions.

David

Peace and Love 🙂

[David Battistella]

Eli,

I would say that in your case the smart thing to do would be to render then file out to a 10 bit annimation codec file after it has been captured. This will up the file size but it will put the footage into a 4;4;4 color space and it will hold up best. You can’t actually put anything back (DVCPRO HD is a low data rate, severely compressed, 8-bit codec)

The best you can do is ensure that it is rendered in 10 bit space witht the most precision possible. WIll you gain a ton of quality recapturing 10 bit UC via HDSDI, well it’s like capturing DV va fire wire or 10 bit, it is not goingto look better but it will hold up. I am not sure capturing will get you more than rendering it out as annimation or PNG codec (both 4:4:4). I’d do a test but I think you will find the render as good (or cleaner) than the capture. I certainly know this is the case with HDV. The software render looks sharper.

Thanks,

David

Peace and Love 🙂

[David Battistella]

The DVCpro HD codec is very clean. It is also about 120th the data rate of uncompressed HD. Walter has a good workflow. When people make to 10bit arguement it is not to make 8-bit DVCPRO HD orginals any better but it is to make sure it does not get any worse (through render artifacting, etc.

It is what it is. If you have an FX intensive show you might gain a bit by recapturing uncompressed but more than anything you are popping up the files size and pushing FCP , drives and codecs to the max.

Thanks,

David

Peace and Love 🙂

[David Battistella]

The 1/3 inch HVX camera is going to look better than a 2/3inch d30 or d50 because even though the chip is smaller, the camera is putting more information per frame to the P2 card than either of those camera which are limited to 720×486 sd-601 frame sizes.

The HVX is capable of capturing a much larger frame size in two flavors 1920×1080 and 720×1280, you are getting that extra resolution when you record. So when you downconvert the footage to SD it is going to look great, like making 5×7 prints from an 8×10 negative. The HVX also records progressive frames in 720P mode and interlaced frames in 1080i mode.

Comparing the picture quality of any DV camera to a d50 is a no brainer because DV records in a 4;1;1 color space and it is the codec (not the chipset) that creates the fuzziness. if you have chance try recording the composite OP of a dvx camera to a beta deck and you will be surprised how amazingly it stacks up. The d30/50 and the HVX (to the p2 card only) records a 4;2;2; color sampled picture. This is what will make these two cameras more comprable in both picture and quality. If I was mixing the two I would capture all of my beta tape to a DVCpro50 codec and I am certain they would match up quite nicely despite the chipsize difference. You can paint either of the cameras to match each other but the they ahve distinct SONY and Panasonic looks respectively.

David

Peace and Love 🙂

[David Battistella]

The 1/3 inch HVX camera is going to look better than a 2/3inch d30 or d50 because even though the chip is smaller, the camera is putting more information per frame to the P2 card than either of those camera which are limited to 720×486 sd-601 frame sizes.

The HVX is capable of capturing a much larger frame size in two flavors 1920×1080 and 720×1280, you are getting that extra resolution when you record. So when you downconvert the footage to SD it is going to look great, like making 5×7 prints from an 8×10 negative. The HVX also records progressive frames in 720P mode and interlaced frames in 1080i mode.

Comparing the picture quality of any DV camera to a d50 is a no brainer because DV records in a 4;1;1 color space and it is the codec (not the chipset) that creates the fuzziness. if you have chance try recording the composite OP of a dvx camera to a beta deck and you will be surprised how amazingly it stacks up. The d30/50 and the HVX (to the p2 card only) records a 4;2;2; color sampled picture. This is what will make these two cameras more comprable in both picture and quality. If I was mixing the two I would capture all of my beta tape to a DVCpro50 codec and I am certain they would match up quite nicely despite the chipsize difference. You can paint either of the cameras to match each other but the they ahve distinct SONY and Panasonic looks respectively.

David

Peace and Love 🙂

[David Battistella]

There are a lot of subjectives in your post. Pleasing picture? I have never found an image from a D30 pleasing. I find the sony stuff, very video looking and the color matrixs’ to be quite “cartoony” I have always felt that the stock SONY look is quite “video”

You can get this look with the Panasonic camera. I would put the D30 and teh HVX into the A and B of your monitor and tweak the HVX to look like the D30. Start with a scene mode that is 29.97 and then tweak the settings of the HVX to match your D30 Look. I would also recomend checking where you have your setup etc,.

It’s a tough post to answer because of it’s subjective nature but you can make the HVX look as good (or bad in my opnion) as the D30.

David

Peace and Love 🙂

[David Battistella]

Tim,

I am not positive here but I think that you can acquire the footage at 30P but you need to use a 59.94 sequence output setting to play it out through your KONA 2 card. I am not sure that there is a 702P 30fps delivery spec and that is why there might not be a preset for that.

The Kona 2 brochure states that it does 60 and 59.94 in 720P so I imagine you might want to use the 60 presets.

David

Peace and Love 🙂