Mark Maness
Forum Replies Created
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[Jeremy Garchow] “I haven’t but I also haven’t captured in that way before, that is, use firewire first, then change everything.”
Yeah, firewire capture and convert to ProRes422, then use the Kona 3 to recapture into DVCProHD after the logging has been done. Faster workflow than the standard log and capture.
[Jeremy Garchow] “I’d just log and capture with the Kona first. Save you some trouble in the long run?”
Normally, we would, but we have found that you can use this method and log about 7 tapes in a day’s time compared to a couple of days doing it the standard way.
[Jeremy Garchow] “In the log and capture window, you setup the audio/video how you want it then you have to click the button that says “use current settings” or whatever it says (going from memory) so that FCP will use what the L&C window is currently set to, instead of what was set when it was logged.”
To answer you on this… Yes, we are making sure that when we recapture the tapes that we have selected “Use Current Settings”. But the audio still plays as stereo, even though its dual mono.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
Here’s one for you, Jeremy. Maybe you’ve seen this and maybe this issue is related.
We shoot a mixture of HDV and XDCAM HD.
To edit the HDV footage, we usually capture using the HDV-ProRes422 – Sony – 1080i29.97 Easy Setup. This makes for fast logging of the clips. We prefer to edit in the DVCProHD codec because it faster and friendlier in our experiences. So, I have to delete the media, after changing the clips names and making notes to each clip. After I delete the media, I change the audio from stereo to dual mono and recapture my footage into DVCProHD 1080i29.97.
Well, everything is good EXCEPT the audio which is dual mono still plays as stereo – left and right, not panned to center as dual mono usually does when capturing my XDCAM HD footage as DVCProHD. In the edit, we have to center all of the HDV acquired footage so that we don’t have talent speaking in the right or the left speakers.
You could say its a PIA.
Have you seen this?
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
No… Just edit in ProRes422. I was explaining our workflow hoping that you’d see that it can be used in various ways. We have to mix formats, so its easier to capture in a more friendly codec for our needs.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
You could, if you have a lot of time. It works but it may take many hours to encode before going to disc. The Share menu is a wonderful idea that has gone wrong. It way too slow to be of any use to most of us.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
Yes, I agree, Shane… For this case, ProRes422 would be Amber’s best option.
Amber, I’m not sure if you understand what we are talking about. In your Easy Setups, you’ll find options to capture HDV to ProRes422. I’d select HDV to ProRes422 – Sony – 1080i60. This will capture your HDV footage into the ProRes422 codec. This will make it easier for editing and outputting to whatever you want.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
I’ve found the easiest software to do just this sort of thing to be Roxio’s Toast. Its worked very well for us.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
[Amber Miller] “Now, I guess I don’t understand what you mean by “logging purposes only””
Logging footage is just that… Digitizing the footage, looking at it carefully, naming the clips you want to keep and throwing away (or deleting the media) that you don’t need. Not everything shot will be needed.
[Amber Miller] “What about HDV 1080i60 vs. DVCProHD? Would DVCProHD be better then?”
These are codecs. To understand this, you need to learn about the codecs. Personally, we like to edit in DVCProHD 1080i60 because its a high quality codec that has been around for a long time now. Its fast and easy to work with. DVCProHD is an I-Frame codec. HDV is something totally different. Its a Long-GOP codec. So, every time you work wit it, it has to render and conform to the HDV codec. DVCProHD works much easier. There is no conforming. Just edit and render.
This is also the reason why we have an option to capture HDV as ProRes422. Its a friendlier codec than HDV.
Look on the net about codecs and their uses. This will help you very much.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
[Simon Ruschmeyer] “If I’m exporting the edited clip the interlace-bloccking of the HDV material is visible. What should I do? Convert the HDV-Footage to a different format before editing? Or is there a different approach?”
Yes… Capture your HDV as ProRes422. There is an Easy Setup for this.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
Now that answers your rendering times.
I can tell you for a fact capturing your HDV footage into the ProRes422 codec is your issue. I have the same issues you do when using this workflow. I feel that its messed up and Apple will not admit this issue but I feel that it solely lies with the ProRes422 being at 1440×1080.
This is a “bastard” resolution for ProRes. Yes, it can do it but its not its optimal resolution. By its nature. ProRes422 is a full raster 1920×1080 codec. Its beautiful when used this way. When do the HDV-ProRes422 conversion, the video stays at its native resolution, which is 1440×1080. This is where the rendering problems come from. You have to take a full raster codec and render it into a non-square resolution. That takes lots of time.
The way we get around this is to capture our HDV to ProRes422 for logging purposes only. After all of the logging is complete, we’ll re-capture the footage into a more friendly codec like DVCProHD, which places the footage into a natural state that is easier to edit.
If you’re thinking, I’ll just blow out the footage and recapture into the ProRes422, it won’t work. It will recapture everything back at 1440×1080 and you’ll be in the same situation again.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
Exactly, Shane.
But this is where a capture card, such as an AJA Kona LHi, can come in handy. Technically, they are not GPU cards but they can speed rendering in the fact that all of you media that you digitize thru that card will be of the same codec, therefore, simple effects like a 3-way Color Corrector will work in real-time. As long as you sequence codec and your clip codecs are the same, its all real-time, if you have a good enough machine to handle it.
This is where confusion sets in. A capture card is just that – an input/output card, not a CPU. It can make editing faster by having everything in the same codec.
Amber, my suggestion to you is… Look up here on the net about the basics of editing and codecs. There are many wonderful tutorials and explanations on these subjects. There are several here on the COW for example. Take a look. It will make you a better editor and faster editor. We’ve all done it at some time.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com