[David Battistella]

Stuart,

E-mail me off list and i’ll give you a call tomorrow. You can get my e-mail address by click on my head at the top of the FCP basics Forum.

David

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[David Battistella]

You could even re-capture with the Sheer Codec. You’ll see how advantageous this is for capture and archive if you check out the article in this months COW magazine.

I had hoped PRO REZ would be as good as Sheer, but the hardware dependancy of PROREZ has me a bit bummed.

David

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[David Battistella]

Stuart,

The only other lossless opetion would be the SHeer Codec. (i wrote about it in the last issue of the COW magazine. It carries about the same file size as Pro REZ without the CPU usage/dependancy of Pro REZ.

It’s one of those fantastic ideas that has just had a hard time getting off the ground. Probably the best RGB to YUV converter around.

David

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[David Battistella]

I have to say that a DV recapture is a BAD idea. If the source was DV I would agree, HOWEVER, with the source being beta SP, and the final product going to D-Beta I would ahve to say that the most important thing would be to capture at 10-bit. The graphics and everything else will look much nicer in this full color 4:2:2 codec. WHy would you give up half of your color information for the sake of space?

David

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[David Battistella]

1. Any major problems converting an FCP 3.0.2 sequence to FCP6? (A test to FCP5 a while back seemed to work fine.)

This should open fine, but make sure you have backups in place.

2. Codec choice for video recapture? (uncompressed SD 8-bit, uncompressed SD 10-bit, ProRes422)

Uncompressed 10- bit will look great, provided you have the drive speed, capacity, etc. Theere have been issues with 10-bit codec and AE renders so you might want to test first. 8 bit UC is more than adequate and will stand up to CC renders.

3. Codec for rendering After Effects moves?

Render them to 10 bit uncompressed, 8- bit uncompressed or Annimation (I tend to do annimation and render in teh timeline, it’s a bad habit , I guess)

4. Once I

[David Battistella]

Basically,

You import it as 4×3 and then scale it up to 135% to fill the frame and place it up and down to where you want it cropped.

note that if you change your setting to motion quality best, then it affects ALL of your sequence renders. (this will significantly increase render times.

David

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[David Battistella]

post system details.

what external drive are you capturing to?

David

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[David Battistella]

1. Subjective question but here goes.

All video is 72DPI.
Frame size of SD 720×486 (Broadcast 601) or 720×480 (Broacast DV and DV50)
Data Rate Uncompressed 27MB/sec
Data Rate DV 5.1 MB/dec (about 5:1 compression

HD
All video is 72DPI.
Frame sizes are

2K
1920×1080 (FULL FRAME HD)
1440×1080 (HDV AND HDCAM)
1280×720 (Varicam, HDX200)

Data rates

165MB/sec UNcompressed
HDV 5.1 MB/sec (20:1)
HDCAM (55MB/sec (3:1)
Varicam, HVX (7.8 mb/sec)

#2 Who cares. this is the worst format on earth!

Just because the Letter H and the Letter D are put together this does not mean that you are dealing with HD. I would not consider HDV a high def professional format, but it is prosumer.

I would consider panasonics codecs professional as they operate in teh 4:2:2 Color space.

David

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[David Battistella]

Bob,

Did all kinds of tech support with Jim at AJA today (thanks Jim, the support at AJA rocks). But we were not able to troubleshoot the problem on my end. My I/O LA seems to be locked in RGB output mode, no matter which easy set up I choose, etc. The output does not swithc.

So they are sending a new box. I hope it is hardware and not software related.

Thanks,

David

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[David Battistella]

Shane,

WIll this guarantee the matchback in the Symphony?

David

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