David Battistella
Forum Replies Created
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You can not capture with Avid Codecs in FCP. Actually, FCP will not load with the AVID codecs in the Quicktime Folder.
David
Peace and Love 🙂
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Why not recpature from EDL’s using automatic Duck?
If the AVID session was DV then you might be able to batch rename the files so that they have an extension like .mov. This would work if it is DV footage. if you are talking about one of the AVID compressed codecs then you will not be able to use the media unless it is transcoded, or you put a new wrapper on it.
AVID uses proprietary encoding that does not work anywhere on planet earth except in AVID land.
David
Peace and Love 🙂
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I think the canopus only plays back standard def. (SD) DV, if I am not mistaken. So, HD would be a bit of a problem.
David
Peace and Love 🙂
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They already have that.
It’s called A PRODUCER.
hee hee
🙂
d
Peace and Love 🙂
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Wow!
Feature fixes duiscussed here are implemented in just weeks!
That is amazing. Nice work guys.
David
Peace and Love 🙂
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Mpeg streamclip by squared 5 software.
david
Peace and Love 🙂
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Hi,
Just a quick thing here. I know that much of these decisions are job and cost dependant, but the UC solution is always going to look better. Just go over to http://www.onerivermedia.com and look at comparrsions between the DVCPRO and the UC 8 or 10 bit.
This arguement is comparable to the arguements we used to see with DV vs UC 10 bit in SD production. Personally, I think DV can look amazing when output via a card to beta or D-Beta, but it has everthing to do with the amount of processing you are going to do to the image, etc.
Would you deliver DVCPRO HD100 for a filmout? Probably not. You might want that to be uncompressed so that the image would not degrade on the blowup.
This all said, I actually like the esthetic of the DVCPro codecs, they produce a grain structure/artifacting similar to film and I have always liked the look of these codecs. They are beautifully enginered, with amazing picture quality and very miniscule file sizes. This makes sense since Panasonic was trying to get them to fit on P2 media cards and reduce the amount of number crunching before sending tings to tape.
In your workflow I would maybe do this:
Capture DVCPRo HD
edit 23.98 natively
drop it into a DVCPRO50 timline and render the downconvert (test this) or output a real time downconvert via a KONA.You could always do a recapture of the final spot to 10 bit UC and save that digital file as an ultimate archive. Or just media manage the DVCPro 100 to do that.
These are the best set of production codecs I have seen because they, 1. look great 2. are designed for the real world. 3. Do not compromise look for speed and efficiency.
DVCPro 50 is basically panasonics version of D-beta. It’s a very smart workflow.
my 2 cents.
David
Peace and Love 🙂
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Hi,
Just a quick thing here. I know that much of these decisions are job and cost dependant, but the UC solution is always going to look better. Just go over to http://www.onerivermedia.com and look at comparrsions between the DVCPRO and the UC 8 or 10 bit.
This arguement is comparable to the arguements we used to see with DV vs UC 10 bit in SD production. Personally, I think DV can look amazing when output via a card to beta or D-Beta, but it has everthing to do with the amount of processing you are going to do to the image, etc.
Would you deliver DVCPRO HD100 for a filmout? Probably not. You might want that to be uncompressed so that the image would not degrade on the blowup.
This all said, I actually like the esthetic of the DVCPro codecs, they produce a grain structure/artifacting similar to film and I have always liked the look of these codecs. They are beautifully enginered, with amazing picture quality and very miniscule file sizes. This makes sense since Panasonic was trying to get them to fit on P2 media cards and reduce the amount of number crunching before sending tings to tape.
In your workflow I would maybe do this:
Capture DVCPRo HD
edit 23.98 natively
drop it into a DVCPRO50 timline and render the downconvert (test this) or output a real time downconvert via a KONA.You could always do a recapture of the final spot to 10 bit UC and save that digital file as an ultimate archive. Or just media manage the DVCPro 100 to do that.
These are the best set of production codecs I have seen because they, 1. look great 2. are designed for the real world. 3. Do not compromise look for speed and efficiency.
DVCPro 50 is basically panasonics version of D-beta. It’s a very smart workflow.
my 2 cents.
David
Peace and Love 🙂
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Paolo,
As a side note. Using any image more than 72 dpi is a waste of FCP resources. The video image is no more than 72 dpi so it is wise to stay in that resolution as FCP will work MUCH faster.
you can increase the FRAME size (up to 4000×4000) if you want to pan and zoom, but upping the resolution is ony wasting time.
David
Peace and Love 🙂
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or right click your mouse over the transition.
David
Peace and Love 🙂