[Hooban Meyer]

Thanks Peter!

[Hooban Meyer]

I’ve had trouble with this in the past too. If you’re having the same problem I’ve had, then it’s a setting on the camera that has to be changed. And Final Cut is kind of goofy, sometimes you have to restart both the camera and Final Cut in order to get it to recognize the camera.

Go through the VCR menu on the V1U, toggle down to In/Out Rec (the double arrows), and be sure the settings are:

VCR HDV/DV – HDV
Component – 1080i/480i
i.Link Conv – Off
Down Convert – Squeeze (This likely doesn’t matter)

Turn everything off and restart everything. Hopefully the computer will recognize the camera. If not, keep playing with it. Obviously it’s seeing something, sometimes Final Cut is just quirky.

Good luck.

[Hooban Meyer]

Thanks Chris, I’ll look into it.

I’ve always heard that you want to do the reverse pulldown through something like Cinetools rather than just convert it using compressor. I believe that’s because Cinetools is only pulling out the repeated frames where as running it through something like compressor is actually just meshing them together.

[Hooban Meyer]

Chris,

Thanks so much for this breakdown. It honestly helps a lot.

I’m really set on staying in true 24p even if there’s only an outside chance of a film print. I’m going to be putting so much editing and effects work into this that it would be a disaster if I ever had to go to a film print and had to somehow conform it all to 24p. Does that make sense?

So a reverse pulldown may be inevitable.

If I went with the HD-Connect MI what additional card would I need to support that? I would be going firewire into the HD-Connect and then how do I go from that box to the G5. Also, is my Duel 2 Ghz G5 fast enough to handle the prores capture?

[Hooban Meyer]

Hey Chris,

Thanks. I have read that post in its entirety and there’s some good stuff there. The one element no one has included in potential work flows is the reverse telecine element. I would love to edit the whole show in native HDV and then send it out as an uncompressed format or a ProRes. However, HDV won’t allow for a reverse telecine (temporal frames), and because I’m trying to stay in 24p, I’ll immediately have to convert to another format to be capable of performing that reverse pulldown.

It sounds like I just need to figure out the best way to go from the Sony V1U to the G5 converting to a ProRes file. Maybe it’s via HDMI or maybe through the IOHD box. The questions are:

– Which is the better method (quality wise)?
– Can my Dual 2Ghz G5 handle each method?
– Do I still need to perform a reverse telecine after capturing, or can I capture the file (prores) through one of these methods without that pulldown in place, resulting in a true 24p file.

Staying in native HDV would be wonderful simply for space issues, but it just doesn’t sound like it’s possible.

You guys are great for thinking about it and responding. Thanks.

[Hooban Meyer]

Jerry,

Thanks so much for your response. It seems the AJA Kona IOHD is probably the best bet. So am I understanding correctly that with that, I won’t need any other cards or hardware (aside from the camera/deck)? It’s looking like the price is around $3k…ouch.

So if I’m capturing the HDV footage via IOHD as a ProRes 422 file, I may not need to do an additional pulldown removal to get it to true 24p? Why do you think that may be the case? Do you think that maybe the pulldown removal is occurring while creating the ProRes 422 file through the Kona card? Man, that would be great if that were the case.

Thanks again. You’re a scholar and a gentleman.