Eric Jurgenson
Forum Replies Created
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You are on the right track. Typically, you want to edit in a project with settings that match your footage – HDV in your case.
When you are ready to export to DVD, use one of the Premiere DVD export presets (high, medium, or low quality, depending on the length of your show. If it is under an hour, use high quality). Be sure that 16×9 is selected (It should be, since it typically matches the aspect ratio of the project, which is always 16×9 for HDV). This sets a flag on the DVD that will allow full screen playback on widescreen TVs, and letterboxed playback on 4×3 TVs (The DVD player adds the letterboxing).
Obviously, your DVD is going to be standard def (unless you happen to have a Blu-Ray burner).
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If one of the two 500GB drives is your boot drive, I wouldn’t stripe them RAID 0. Firstly, you shouldn’t be storing your media on the same drive that the program resides on. Secondly, striping RAID 0 decreases reliability – a bad idea for a boot drive. Also, performance is less critical for the program drive than it is for the media drive.
I’d just use your second drive as your media drive. It should be able to handle DV and HDV pretty well. If you want more performance, I would add a third 500GB drive, which could be striped RAID 0 with your second drive.
Editing off the LAN will probably not give you the same performance as a single SATA drive, but may work for single streams of DV and HDV. Latency becomes an issue with network drives.
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No, but Page Up will take you back to previous cut points (or markers).
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You do realize that you are downconverting to standard def with these project settings, right?
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1) I don’t think you will be able to export to HDV from a progressive timeline (project). The deck won’t accept it.
2) To check if your footage is shot in progressive, load a clip with a lot of motion into the source viewer, export a frame (with fast movement) from the source viewer, and open it in Photoshop. If you see interlacing artifacts on moving objects), it is interlaced. If it is just blurred (on movement), it was shot progressive. Properties in Premiere will show interlace regardless, since that’s how it was captured.
3) Bottom line: Edit in an interlaced project regardless (unless you are printing to film, which is highly unlikely).
4) To deinterlace in Premiere, right click on a clip and go to field options. For better results, use After Effects (Smart Deinterlace).
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HDV decks can’t record progressive except as “segmented frame” (interlaced progressive frames). So if you didn’t shoot progressive in camera, your only option would be to deinterlace on the timeline, which will look like crap since deinterlacing in post cuts your vertical resolution in half.
Bottom line: If you want progressive, shoot progressive. Don’t attempt to do it in post. If you do shoot progressive, edit it in an interlaced project if you want to export to tape, and progressive if you want to export to film. The progressive (or as some call it: “flickery”) look will be maintained in an interlaced project.
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Personally, I’d render each trimmed clip out to a Targa sequence with Premiere/AME (no compression with Targa files, so no quality is lost- Besides, AE hates long GOP compression like AVCHD). You can do your key in AE with a stand-in background, then render out as a Targa sequence (foreground only) with an alpha channel. Bring the Targa sequences back into Premiere, and replace the original foreground clips, but keep the original backgrounds. You will retain the Keylight key quality, with the flexibility of working in Premiere.
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Since you are shooting interlaced, 60i indicates sixty interlaced FIELDS per second, and since two fields make a frame, you are actually recording 30 (or 29.97 to be exact) frames per second. This is really a problem of confusing terminology. Cannon shouldn’t identify interlaced footage with the field rate; they should stick to the frame rate. In other words, the 29.97 Premiere setting is the correct frame rate setting.
Of course, there is such a thing as 60 PROGRESSIVE frames per second, typically called 720P-60. Premiere has these settings as well, but you wouldn’t want to use a progressive project preset to edit interlaced material – the source material would be deinterlaced, which would reduce the resolution.
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Install the Avid software codecs (Google it). You will have to render to get smooth playback.
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Track matte. After Effects (or Premiere if you happen to have a Matrox card with the bundled effects package).