Mike Most -- account bouncing, bad address
Forum Replies Created
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Unless you also own the film recorder and are doing the actual film recording, you don’t necessarily have to think about any of this. Talk to the facility that’s doing the film out and ask them what they can accept as source files. My guess is that the Quicktime will be fine.
Of course, none of this changes the fact that the film result may or may not look like the video you supply. Unless you do proper color correction in a properly film-calibrated environment, all bets are off. You need to look at it under these conditions and decide whether you do or do not need to make adjustments. Once again, the facility doing the film recording should be able to accomodate this.
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I don’t really understand why you seem to think it’s Blackmagic Design’s responsibility to support a format that doesn’t actually exist, at least not in the video world. There is no such thing as a 720p/24 video format, period. It only exists in a computer.
I would suggest that you try using Compressor’s Advanced Format Conversions. If you have a reasonably fast Mac, it works pretty quickly – about 2.5 times running time – and does a very clean job, without having to go through the 24->60->24 thing.
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It’s been the bane of our existence as well, particularly because thanks to Apple, Panasonic, and general hype, too many people think there is actually a 720p/24 video format, when in fact there isn’t. Not only that, they think it’s some kind of “standard,” when in fact it doesn’t even exist.
A better solution for DVCProHD work is to use 1080p/24 – which, ironically enough, doesn’t actually exist either, at least in DVCProHD land. However, both Blackmagic and Aja “cheat” by using the DVCProHD 1080i codec to “fake” it, in much the same way that Sony uses 48i to create a recording format for 24p. The nice thing about using this approach is that it integrates well with the existing video infrastructure, so things like telecine transfers and bouncing to and from tape are simple and conversion free.
Barring that, I highly recommend putting together a system with a Kona 3. It just solves a lot of problems.
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Yes, it will do 720/24 to 1080/24. That’s one of the features that make it particularly attractive and distinguish it from the Blackmagic cards. It has a built in, hardware based up and downconverter, allowing simultaneous output of HD and SD. Very flexible.
As for the 720/24/60 thing, what I said was accurate. 720p/60 is the only existing, supported **video** format. 720p/24 only exists in a computer, so yes, the Kona will directly convert that to 1080p/24 on the fly without going through the 24/60/24 cycle.
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It’s a little late for this, but…
As far as sequence settings, you should be using the Kona DVCProHD 720/24 easy setup. This will set up a 23.98 timeline, but will set up the card to output this as 720/60p (the only existing 720 video format – in the video world, 720p/24 does not exist). That would be if you want to play back as 720. If you need to play back as 1080/24p, the Kona 3 card does this directly, but you need a newer G5 or possibly a Mac Pro (once the drivers are released, which is imminent) because the Kona 3 is a PCIe card.
As I said, none of this helps you now. Scaling up using either Compressor or Final Cut directly (drop the 720 footage in a 1080/24p timeline, select all the clips in the timeline and choose Modify/Scale to Sequence, then render) should work just fine. You will then be able to play those clips out directly through the Kona2.
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>>Incorrect. The HDCAM and D5 also accept a 720p signal.
I’m not going to get into a pissing match with you, but you need to check your facts. First of all, D5 is a Panasonic format, not Sony. Sony has never made a D5 machine, nor have they ever made a machine to support that physical format. Second, there is no HDCam model that supports 720p, because it’s not part of the HDCam spec. In other words, there is no such thing as 720p HDCam. The only Sony machines that support 720p are the HDCam SR machines. HDCam and HDCam SR are two completely different systems, even if they happen to unfortunately share the “HDCam” part of their names. Support of 720p was one of the main features Sony built into the SR format, specifically because of the general acceptance of D5, and because at least 2 US television networks decided to adopt 720p as their broadcast format. The Sony HDCam line of VTR’s are designated as HDW-xxx machines. The SR machines are designated as SRW-xxx. No HDW machine supports 720p. All SRW machines do.
Do your homework before you claim something is incorrect.
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The only Sony machine that supports 720p is the HDCam SR. The only formats supported by the machine you’re talking about are 1080i/60 and 1080p/24. You will need to convert to one of these two formats. The client will need to specify which one they want.
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You can use Cinema Tools to remove the pulldown, but you’ll have to convert it to fields first, because Cinema Tools only understands fielded formats for reverse telecine operations. Take in the footage as 60 frames (“720p/24 in 60”). Use Final Cut to export these clips as 1080i/60. This will essentially make every frame into a field. Take the 1080i/60 clip and do a reverse telecine. This will generate a 1080p/24 clip. You can then rescale this back to 720 or use as is. Be aware that you might need to try a few different settings in the reverse telecine operation before you find the proper cadence.
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Only if you consider the Adrenaline the top of the Avid line. Both the DS Nitris and the Symphony Nitris (which are the same hardware anyway) work uncompressed. And with the 4:4:4, upgrade, they work uncompressed in dual link RGB as well. Of course, it is also true that any material coming into those systems – or just about any editing system – is coming in from a tape source, so “uncompressed” – at least as far as the source material – doesn’t really exist anyway.
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The only Avid system that does “uncompressed 10 bit HD” is the Nitris line, including both DS and Symphony variants. The Adrenaline, the MC software version, and the XPress Pro HD systems only do DNxHD and DVCProHD. Both are compressed formats. Of these, the only system that can digitize from an HD deck other than a DVCProHD deck is the Adrenaline, although you must have the DNxHD board to allow this. The media, once digitized, can be used by any of the systems mentioned above, but output options are limited.