Michael Gissing
Forum Replies Created
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Use Media Manager on the original DV project to create offline. Change the compressor to 1080 50i HDV. Do not include master clips outside selection and delete unused media with handles (a seccond or two will be enough if this is a reconform to online)
Recapture the HDV with at least a five second preroll. Recapturing long slabs with short pre rolls is hopeless in HDV. As I sit and type this I am recapturing a 74 minute show in HDV with a similar work flow. Some clips have been tricky. Also don’t due huge batch recaptures. Do up to 20 events then close batch capture & save. I have had FCP 601 crash three times in two days and lost captured files. HDV is tricky but unlike sceptics, I have found recapture frame accuracy to be very good – except when editors try and capture whole rolls and IGNORE genuine code breaks.
Yes I know that phantom code breaks happen with HDV but riding roughshod over them only makes problem for people like me later. I have had many jobs without and sync issues. Every time I have had a sync issue, it turns out to be operator error.
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Monitoring is important. I can’t use Color without upgrading my graphics card and G5 but I have found a combination of 3 way CC in FCP with Lyric filters Shadow Lift, Masked CC etc) and the Nattress filters for Gamma curves & Chroma Smoothing gives me a lot of CC control. I am mostly doing HDV in 10 bit uncompressed. Needs a fast big RAID!
Gets tricky if you want certain looks that Color can do. Magic Bullet Looks might be just the ticket instead of Color. I have only seen the online demos but it looks impressive.
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Nattress Film Effects plugins have can do this
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The AVID trick sounds like a potential nightmare to me. With the highly common tactic of capturing a whole camera tape, which shot on the reel are you applying say a color grade to? Even if people are sub clipping, do they always break down to individual shots?
I do final grade work and that means a Media Managed project, either with media consolidated or recaptured so either way the shots are broken down and so there is only ever one instance of a master clip in the timeline. If there are repeating scenes like an interview, I save the grade filter combinations to a bin and then highlight a group of shots, drag and drop filters to the timeline. It is easy and I find it fast.
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[Daniel Stone] “Kind of like using a $30K Zeiss lens on the front of an S-VHS Handicam.”
Actually using a good lens will improve any format.
I agree though – capture native and then render the final in a 10 bit Uncompressed.
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The MOTU V3HD has 8 channel AES as well as 8 channel SDI embedded. I have only seen the brochure so don’t have an opinion on how it works with FCP. I am sure you can use it to record the audio as wav or even broadcast wav.
It looks like a really interesting device for SDI and monitoring as well. May be a better bet than the Matrox or even a Decklink?
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In sound post, this is very easy to fix and mix. Save yourself the agony and take the audio to a decent DAW/ mixer and they can mix between tracks as people are talking and fix phase issues by slipping tracks in sub frames.
Whilst you are editing, I suggest delinking the stereo and just splitting and pulling down the other channel when that mic is not needed.
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All you need is James Earl Jones and a bucket.
Seriously the effect can be done with a pitch shift down and some chorus. You should find those in Soundtrack Pro or Garage Band.
The helmet characteristic can also be done acoustically when recording if it is not too late. Speaking into a glass might work but I would recommend a larger object like a mixing bowl or a bucket.
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Gigabit ethernet is theoretically fast enough for uncompressed SD but even if your switch supports QOS and the FCP Macs have highest priority, there will be times when network chatter might make playback unreliable.
I have my G5 connected to various Windows PC’s and a NAS. I use the NAS for file backups. At this stage I have not been able to get the G5 to write files bigger than 2 gig to a Windows machine so the thought of using a WIndows server to feed multiple FCPs would seem to me likely to fail the reliability test and also bomb out making big long render or capture files.
Your IT guy might be able to get them talking better than I but file transfers for me between NSA & Windows PCs always seems slower than real time playback of SD Uncompressed.
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Better still capture SDI into the Blackmagic card. Personally I capture in 10 bit prior to grading. I have 5 TB of storage so space is not an issue. I have the DSR1500 with SDI out and compared to capturing via firewire and up rezing, the SDI is faster. At the end of the day, I also think the DSR does a slightly better job of uprezing but there really is nothing in it, just time.
All your titles and credits will look good uncompressed