David Battistella
Forum Replies Created
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Thanks for the response Dale. I agree with you. I love the look of the Varicam and as soon as people can say, “this was shot with it , that was shot with it.” I am sure it will becaome a more widely and easily accepted format.
Sony is just a Gorilla in North America and it’s hard to change people’s thinking.
David
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You might want to recapture the final cut at a 10-bit uncompressed resolution throuhg and AJA KONA2 or similar product. This plays back at 165MB/sec and the KONA 2 can do a realtime upconvert to 1080i with Varicam footage.
If you capture the media this way for your final transcode you will be at a full 1920x1080i file size that will be more information for your film out.
It will also be much cleaner with any renders and FX you might have.
David
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Anyone know of series being shot on Varcicam right now?
David
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You might want to try to find a solar power solution. I am not sure how close you are to that but a few solar panels are lightwieght and use the sun to charge stuff.
David
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Thanks,
I just thought these were the best palces to get answers.
David
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Noah,
Can you please explain what you have against cross posting? Have I wasted someones time? Have I breached and etiquette I was not aware existed?
Apologies.
David
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Walter,
In the coming weeks I will be testing this workflow and I will share my results with anyone who will listen. The first thing I want to do is a recapture test and then I want to test the workflow I detailed in the previous post.
The FCP edited HDV timeline needs to be rendered prior to output (it’s about three to one ratio). This has to happen because prior to outputting back to HDV tape it has to be rendered into the long GOP format that HDV is. I want to see just how “lossy” this process is. I can’t buy that it is garbage in garbage out like DV because it does have to be rendered.
David
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this has all of the classic signs of a drive speed issue, especially the black flashes. What speed drive are you capturing to? How full are they?
David
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This problem was reported in earlier posts.
I believe that the clips capture fine and then you have to trash the subclips and import and relink the clips from the drive they were captured to.
I think that the 1.1.2 driver has resolved these batch capture issues.
You can download that from the AJA site.
David
it is covered in this thread by walter
https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=98&postid=854890
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Does anyone know of an HDV project that has been recaptured successfully. I am pretty sure that if you edit HDV natively you can not recapture it (even if your media was deleted or something like that). I think this has to do witht TC accuracy of the long GOP format that the HDV codec uses to edit to tape.
It sounds like the best thing to do here is output the finsihed show to HDV and recapture that finsihed HDV version of the show to an HD uncompressed codec SDI via the HDV deck. (if there is an HDV-SDI deck out there).
You can drop the offline version of the FCP sequence on the captured show. You do this so that you can use the razor blade to cut up the recaptured show (because it will not have any cut points assigned, it’s like “notching” in a tape to tape, only the non liniar version) so that you can apply the CC and film look fliters you want for your online.
Theoretically you can do this in any codec you want but if you go 10-bit uncompressed you won’t take the render hit that you would in HDV native.
Recap:
1. Output HDV native codec timeline with no rendering etc to HDV tape
2. Recapture that tape in 10-bit uncompressed codec.
3. Place old sequence on that sequence and cut it up with blade
4. Proceed with online and CC
5. Pray your mix lines up with your guide track!I think this is the best way to squeeze the most qaulity out of the HDV because it will almost be like onlining the camera originals (except for the fact that you have to render the final timeline before it can be output so that it can be put back in the long GOP format.
The only other solution might be the SD connect box that has been advertized here on the cow, theoretically it converts the 1394fw signal HDV into HD-SDI with embedded timecode that will allow for recaptures. (i have to see this to believe it, do I hear a Buddy Holly song here!). This would allow for a traditional offline online workflow with HDV. If this is true we have a 2000.00 solution to editing HDV.
AND
If you think this is interesting wait until P2 cards hit and we have NO TAPE AT ALL. What’s the scenario going to be with that camera for larger projects and media management? Each file on the P2 card will have a zero timecode stamp and no reel name. FCP does not support TC off the timeline and this has been a peeve with some people for years, the absence of Timecode in these new HD formats have and will continue create some serious challenges in post workflows.
TIMECODE IS MY LIFE!
Not sure some manufactures worry too much about that, but think of the many different uses of the liniar structure of time code and it all looks a bit grim. Sorry to go off, but not being able to recapture is a giganitc problem that needs to be addressed! 🙂
David