Oliver Peters
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Bring in both via SDI and capture (for final) as 8-bit uncompressed, unless you have fast enough drives for 10-bit. Both media will be 23.98fps with 2-3 pulldown, so 29.97, like a film transfer master. Capture and edit at 29.97fps (59.94) and put back out to DBeta as SDI. This will be regular 29.97 NTSC video just the same as if it had been shot on film. This workflow is for TV/Video presentation and not for going back to film, since you will have mixed 2-3 pulldown cadence at the edit points. This is normal for video, but undesireable for a tape-to-film transfer.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
I really have to question this premise about HDV accuracy. In the testing I’ve done with Sony’s 1080i, it worked fine. Granted it was a limited test, but I was able to consolidate the clips and recapture and it worked about as well as DV using the native FW input.
If the deck has RS422 control and you are going into the Kona2 as HD-SDI, then a frame-based stream has been created. The frame created in the first pass will still be the same frame as created in the second pass, since the cadence of the original tape is still the same. It really gets down to the frame accuracy of machine control and the deck itself, not inherently whether HDV is the issue.
The biggest problem I see is that 720p/30 HDV does not look as fluid as Varicam’s 720p/60 or 24. I was also not impressed with JVC’s 24p, so the bottomline for me is that the two cameras will not look the same. If you have a few months to wait, I’d hold out for the DVX200 and figure out a workflow for dealing with the media (P2 cards). Or do the whole show on the Sony HDV 1080i format. In the long run I think you’ll be a lot happier, unless you need a film look. The Sony camera itself is much more professional.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
You should just be able to “promote” the title to 3D. In the effect editor, the lower right corner of the UI should have an icon of a cube with 3D in it. Click that and you have now promoted the title effect. You should now be able to manipulate it independent of the background.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
In order to provide a correct 5.1 surround track, you have to mix it that way. You can take the existing stereo mix and Dolby encode it, but it won’t be surround. If it was mixed correctly, you would be provided with 6 discrete audio tracks that correspond to the 5.1 speaker placement. In the encoding process, you would assign which track goes to the correct part of the matrix. If you don’t have that, but still need to generate a pseudo-surround mix, there are a number of processors sold and/or companies which provide the service to turn a stereo mix into a 5.1 surround mix.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
The keying is a good suggestion as long as the colors are in a similar range. The advantage to Animatte is that if your requirements expand, you are covered. For example, if one person in a shot should be in color in an otherwise B&W scene, which is actually the correct “Pleasantville” effect.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
If you have the budget, purchase one of the interface cards or units from Blackmagic Design, AJA Video or Aurora. This will cost between $300 and $2,000. You could also purchase a FW->video converter, like those from Canopus (approx. $200). You can also display on one of your computer monitors from FCP, through this isn’t as good as a real video monitor.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Depending on the range of colors, you might be able to achieve this with secondary color-correction. Generally it requires drawing a moving matte around the object to retain color. Avid’s Animatte works well for this if you have the patience. Put a base layer on V1 and make it B&W. Put the same video on V2 and draw the matte around the object to stay in color. Place keyframes and move bezier points as the object moves through the shot to create a traveling matte.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
No offense, but if you have a Kona2 card and the sources there, why don’t you simply try a short test? You’ll get the answer a lot faster.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
There really is no viable way to upgrade this machine that makes sense. They work best on the speediest 9600 with tons of RAM. After that it’s dicey. Since the processor does very little to accelerate this machine and it’s all in the ABVB boards, you might actually find that for a project with minimal media, this system might still outperform more current systems. Having said that though, there are plenty of reasons to go with Xpress Pro or FCP on a new G5. For example color-correction tools. Unfortunately with Xpress Pro you can only add Mojo, so you still have far better I/O on the 7.1 than Xpress Pro. Depending on your business model, Adrenaline might be the better path. Or FCP/AJA.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[ribdog] “but would provide some sort of shared storage albeit without the love of Media Manager.”
This is in no way, shape or form SHARED STORAGE. You would be foolish to try to work this way.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com