Gary Adcock
Forum Replies Created
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[Mladen] “I’m using regular Firewire capture to get HDV footage into my G5 and then, using FCP’s Media Manager, converting it all to HD uncompressed. Is this any different (in terms of quality) to using HDV-to-HD SDI converter and capturing via KONA 2 ? “
yes, there is a very, very big difference, IMHO.
I do not believe that the software up-conversion offers the user nothing but the same compression problems they already have compounded by software. These conversions are best done by hardware. all of the HDV camera offer Component video out. that is the best you are going to get out of the camera — why not use it?I know that FW captured HDV looks like the best thing you have ever seen, and I agree that for the price the image in those cameras is amazing, but there is a reason to handle HDV with a little more respect so it will able to compete against DVCProHD.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[David Battistella] “I have noticed that Movies rendered out of AE to the annimation codec come into KONA with setup. What should be black (0 on FCP scopes) is actually sitting at around 10 units. Is this an AE render setting or how the KONA or FCP sets the blacks on these imports?”
Since the animation codec is not a “Kona” proprietary codec, it must be something else.
Most likely it is at 7.5 IRE on the FCP scopes, as it should be according to the RGB – YUV conversion LUT’s used in Core Video for NTSC video.That’s why there is a 10 bit Kona RGB codec.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[stokestack] “Well, the Io is (or should be) a perfectly good converter that can go between S-video, component, and SDI. Yet this functionality is unusable unless this $2000 device is tethered to a computer, because it lacks a simple set of buttons on the front to select a video and audio input.”
Gavin, it’s a control panel and the Io has not required you to use FCP since NAB for pass thru functions.
It does allow you to change input options, use TBC for VHS capture and Proc Amp functionality
https://aja.com/ajashare/ProIO_ControlPanel_v1.0.0.zip
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Joshua Stanley] “Will this deck interact with the Kona card?
Do I need any other hardware/software for these 2 to interact? I have worked alot with SD, but this is my first time outputting HD are there any other problems I may run into with this project?”the K2 has the ability to play back a video file using only the free Kona TV app.
I recommend you use FCP however so you get edit control and not need to do a crash capture.There are no issues with the K2 and and the Fw500 deck that i know of.
If you are used to working in SD only you need to be prepared for the really large files and long renders in 1080 HD.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[stokestack] ” And regardless of what you’re doing, there’s still no reason not to ingest the footage in its native form over FireWire. You can then manipulate it and save the result uncompressed.”
Sorry G, that is not how it works, IF you put the content on scopes you will definitely see the difference, Content handled this way will be rejected by every network I know. One cable Major network will reject files uprezed via any thing but Teranex.
There is a VERY real difference in the look and feel of the footage in compressed vs uncompressed – and lets be realistic about the data flow –DVCProHD 720p24 @ 8bit is 44 megs a second data steam, and you can handle that type of content uncompressed without loss of quality or breaking the bank.
Oh and how do you monitor the footage, output to a different source etc without some kind out 3rd party card.
I’ve been working in DVCProHD for awhile, I cut regularly in FW only capture also, but I never do color correction or finish in anything but the UC space. ( and tape is only 8bit )
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Blake Calhoun] “Thanks for the info. We are wanting it to be “HD broadcast” quality. Doing a test is probably a good idea.”
Blake -also the varicam is “HD broadcast quality” and many of the networks are starting to take DVCProHD tapes.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[stokestack] “Sending DVCPro 50 or 100 (HD) over SDI doesn’t make any sense, because you could have just captured the original data over FireWire; this avoids decompressing each frame, saves a ton of storage space, requires no special hard drive performance, and is still fully editable. Any frame you don’t change can be saved back to its native format with no recompression.”
That is only true for content that is cuts only with no additional processing. Graphics and color correction especially do not like to be compressed in any way and software does not accurately compress the content the same way the chip in the cameras do- so how does some one handle the content?
Remember that most of us still deliver on another format so their is no way around the issue other than working in the Highest Quality until you need to lay back to what ever tape format.it is the difference between what the Camera can do in hardware and the Computer can try to do in software.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Blake Calhoun] “y question is: Should we online in uncompressed 720p – output to tape – then go to 1080i via a TERANEX? Or should we bring the footage into the DS 1080i straight from the DECK?”
there is less wear and tear on your system to work in 720 and then deliver in 1080i – less storage and you stay progressive until you need to tear it apart.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Tim] “So what are all of the Sony 24p users doing that are shooting in 24p?”
there is no support for 24 frame HDV content in FCP. for either camera.
Converting the content via Cinema Tools is is nearly unusable.[Tim] “Doesn’t that negate the shooting in 24p or does it still keep that 24p look since you acquire that way?”
if you are talking about the pulldown cadence – it is inserted by the camera so you do maintain the look of 24p video.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Shane Ross] “24P or 24PA? 24P runs at 29.97 fps. it just is progressive and simulates a 24fps frame rate.
What is your ultimate output going to be? Tape? Then 29.97. DVD? Film? Web? Then edit 23.98.”The frame rate for 24p is 23.98 in video and it does not matter whether it is 24p or 24pA,
However the NTSC tape will always be 29.97, without exception.I would say cut in 29.97 if the DP need to go back to film deal with the problem then, if it is just for video it will be fine without the hassle.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL