Michael Gissing
Forum Replies Created
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I am working with the Canon HD1 at the moment (PAL 25fps) and this is the work flow –
1./ Capture rushes via firewire downconverted to DV standard def via camera setup
2./ Edit. Make audio OMFI and stereo mixdown of offline sound. Make QT of DV timeline for sound post and as a reference file
3./ Media manage project file to create 1080 50i Uncompressed 10bit 4.2.2 without media
4./ Batch recapture HD SDI 1080 50i Uncompressed 10bit 4.2.2 off the camera’s HDSDI into B/M card, controlling the camera via firewire.
Bingo HD pics that sync to the stereo mix file. Grade and titles from offline are all there but now apply to the HD files. Tweak grade & titles, pictures done! Drop sound post facility mix file into timeline, replacing the offline sound. Make QT using current settings. Send to facility with HDCam or D5 and dub to tape.
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Make sure you output via firewire and recapture from the tape to AVID via firewire so there is no trans coding.
However, text always takes so much time in online. Not sure why but it always seems that way. Four titles might not break the bank though.
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Option 2 is the common one used here. I have a DBeta hooked up with a Decklink card. Editors bring their drives in. We nest the sequence in an uncompressed timeline, re-render which helps shots with grades and titles. Most noticable are the titles, supers and credits which look cleaner when rendered as 10bit uncompressed then SDI to Digi beta. I also check levels for broadcast safe and if neccesary trim colour grades or apply the broadcast safe filter.
The render files go on my RAID so speed on the orginal drives is not a issue, although they are nearly always firewire 800 which is fast enough for 10bit uncompressed SD.
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I think you will find that video editing devices are not meant to be sophisticated audio editing and mixing tools. In my studio, mixing 5.1 requires a minimum of 48 source channels and 24 busses to allow pre mix stems in 5.1 of dialog, music and FX, plus the final 5.1 mix out. Also a motorised touch sensitive joystick helps. Not to mention sample accurate editing. Bit much to expect in a video editing tool that sells for a fraction of the cost of my mixer really.
I wonder what card you have in your machine that allows you to output the 5.1 channels. I know my Decklink can SDI embed more than 4 channels but how to de-embed and monitor?
The real question is why LTC is not available on video editors so that proper audio editors can chase lock.
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Tricky one because logic might dictate going for the higher frame rate. However the data rate is the same for both 501 and 601, so the mpeg compressing is higher on 60i. A test might be best, particularly with finding the best frame rate converter. Are you using an external device like a Teranex or software conversion (al la Nattress)?
If it were HDCam, I would be going 60i but HDV? not sure.
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Could be a base scratch, rather than an emulsion scratch, hence it is soft and out of focus. A close look under a magnifying glass at the lab will tell. If you have good location records, you should be able to tell if it is a faulty magazine. The fact that it is not on all rolls might point to a roller or guide fault in a particular magazine. In the old days, we used to write those details on camera sheets to find just these kind of faults.
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Is the line vertical or horizontal (as you describe it as “across some of the spools”) which implies horizontal.
If vertical then it sounds like a neg scratch. If horizontal it might be a telecine fault. You could get your lab to have a close look at the neg to see if it is on the film. Talk to your lab about techniques to remove neg scratches if it turns out to be this. A reshoot may not be neccessary
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The HDV timeline should be 1080 50i. Also better to make your QT as 10 bit Uncompressed 4.2.2. Digi beta is 10 bit and the extra bits do help.
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A quick search tells me that HDV SD60p is a JVC maverick format that uses mpeg2 to shoot standard def at 60p. I am not surprised that FCP doesn’t recognise this at all. Frankly, I am not sure if any system do either, so capturing and rendering a QT file using another system is going to be tricky.
What do you get out of the camera when you play the tape back? Can you take the analog monitor out and see pictures on a screen? If so is it playing in slo mo (ie 29.97 frames?). If so then I would suggest capturing this signal via a capture card with component input. The DVI output might play on an LCD screen but again, at what frame rate? Recapturing that as a new mpeg2 on a DVD recorder is not a good solution. How are you then going to get the mpeg off the DVD and into FCP? A better solution is to convert the DVI to SDI (Blackmagic make a box for this) and then recapture into FCP as SD 10 bit uncompressed. But all of this depends on what frame rate the camera plays this footage back at.
With the benefit of hindsight, a test might have saved a lot of heartache.
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I just had a look and in QT Conversion, when you go to OPTIONS, in the SIZE menu there is a tick box to de-interlace. Make sure it isn’t checked