Eugene Lehnert
1
COW Coin
Forum Replies Created
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There was never any talk about what format I was using at the start of the job. The question came up when I delivered him a Quicktime and it was ProRes(HQ). I can redo the job by simply recapturing the footage of course.
The material is 60i DV footage mastered to HDCAMSR 23.98 422. He did not see any problem but he doesn’t want there to be any issue with the film out. I have been doing so many jobs in ProRes lately I did not think to ask. Most clients like to take home Quicktimes they can view on their home computer. I am going to capture similar clips and a/b them in Shake and even try some recompression examples.
It would be nice to point him to any other information online though too.
Thanks.
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It looks like I had some multi-angle clips in my sequence. I Media Managed them away and now it’s working.
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Ah, yes. Now I see them. Thanks.
But Final Cut can only render in 8-bit RGB still though?
Where does it say if the codec is RGB or YUV? Looking at the capture preset now for some reason the 4444 compressor setting is set to 422 (proxy).
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Yeah, “DL” is what FCP has in the easy setup line item for 10-bit Uncompressed RGB. I was just surprised to not see any easy setup for this new codec.
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I have a Kona 3 card. I thought I would be able to capture Dual Link RGB data to the ProRes 444 codec instead of the 10-bit Uncompressed RGB codec but FCP 7 does not have the easy setup. I was surprised by this. When I get access to an HDCAMSR I want to try duplicating the 10-bit Uncompressed RGB setting and using the ProRes codec instead.
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Shane-
Thanks for taking the time to write back. The project is finished and it all worked out.
I don’t know if I wasn’t being clear enough about the entire workflow but the client brought us a finished project ahead of time. Just for the record I made none of the initial workflow decisions. I was given an SD project that the client wanted mastered in 23.98 HD. They shot all of their interviews on DVCPRO tape and had downconversions made to DV. The production also began years. So my big question was how to deal with this situation in the best possible way. I understand it’s a lousy way to work.
Thanks!
Eugene
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Yeah. I use our UKON to upconvert and downconvert the video material that I get but sometimes I use the motion tab to blow stuff up by a small percentage when it’s progressive material. I wanted to see if I could get a plug-in that used similar algorithms as the Snell & Willcox Ukon.
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That is what I thought. Thanks!
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Let me repost my question:
The client gave me a DV timeline that contains footage from multiple sources. One of which is 720p tapes shot at 24p @ 59.94 but edited using 29.97 DV tapes. Other footage is SD material that has been uprezzed to 1080p 23.98 and downconversions have been made to DV tapes to cut in the offline.
I isolated and media managed the 720p section of the DV offline edit to a 720p project with the clips offline so I would have empty clips with 29.97 timecode. Then I captured the clips from the DVCPROHD deck via firewire to remove the pulldown. I am not using the Media Manager to upconvert anything. I’m only using it to create a new timeline.
But I have a slightly different workflow now.
Now I am taking the DV edit and I am taking the isolated 720p/DV clips onto a different layer and copying those clips into a 720p 23.98 timeline. I then copied the clips into a bin and knocked them all offline. I will then recapture the files from the HD deck removing the pulldown through the firewire. I will then assemble the timeline and lay the 720p 23.98 shots to a 1080p 23.98 tape through the Kona card and re-ingesting the files. The new uprezzed 720p shots will then be cut into a 1080p timeline with the recaptured SD upconverted material. For the SD uprezzed material I exported an EDL and converted it to 23.98 using Cinema Tools and brought everything in off the HDCAM that was created.
Does this seem like the best way to do this? The DVCPROHD tapes have 29.97 code so I thought this would be the best way to work. But any advice is appreciated.
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I haven’t used the deck you refer to but HDCAMSR decks have superior downconversion capabilities than the Kona does. “Mode 3” in the HDCAMSR seems to be equivalent to the Anti-Alias + Enhancer of 1 that I like to use in the Snell & Willcox UKON. The Kona seems to have a softer downconversion that does not have any options that you can change.