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Forum Replies Created
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Try increasing the gamma/gain using a color correction temporarily to help the tracker track. Disable before rendering.
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It will be difficult to capture across breaks without going analog. You are attempting to encapsulate the DV steam into a file, but the data steam is highly unstable and can’t be captured reliably. Capturing ProRes422 HQ will be more than sufficient and will far exceed the DV codec’s capabilities (meaning that there will be no visible loss of quality). Look into running the analog video through a TBC and then into an analog capture device like the aforementioned Intensity. This will reduce your frustration level 10 fold and allow you to walk away. Set a timer for 1 hour and stop the capture manually. You can even trim the QT movies later if you want to keep things nice and organized. ProRes is an excellent choice for this. Be sure to capture native size to preserve the interlacing.
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Use the free version of Resolve to convert it to PR422HQ. DVCPro is the same codec as DV. Be sure to use the correct pixel aspect ratio. Your next question will be, “How do I deinterlace this?”
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A suggestion would be to not try to convert the Log footage to anything. Log in, Log workspace, Log out. Use the “View > Use Display Color Management” to view the workspace on your computer display. This way you SEE what it looks like without having to go through any color space conversions.
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You can use the 2TB SSD for your cache/proxy drive when you get back up and running.
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First choice would be a camera that shoots at multiples of 25, which I would think all action cams would be able to handle. You may need to “flip” the camera into a new mode for those rates to be available to you. GoPro calls it anti-flicker and allows you to reboot the camera into 25 or 30 fps mode, making 24-25-50 fps available to you.
If that is not an option (which I would find difficult to believe) then shoot at a higher frame rate like 60 or 120 fps. You would then have slo-motion available to you, and if you choose to use it at real-time then you would have closer matches temporally after dropping frames to match 25fps. The trade off would be the amount of memory needed to record that much data, and the shutter angle would make the footage appear differently than the A camera, and yes, the flicker would be an issue.
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Shane Ross summed it up pretty well. Your hardware limitations have boxed you into a corner. You need to ask yourself, “What is my time worth?” In the Time, Money, Quality triangle you can only pick two. You are trying to have all three. If you pick time and quality, then you are going to need to spend some money and upgrade your hardware and software. Perhaps you can just upgrade the GPU until you can afford a new system?
Converting to DNxHD is going to be the best choice for importing into Avid. If your system is really old, you may need to convert to Avid Meridien Uncompressed and work in letterboxed SD. This codec can be “fast imported” into the Avid if you select the 601/709 option in the Import Settings dialog box and import the video as 1:1 OMF into an SD project.
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I would agree with Craig Seeman. Get the GH-5 and save your money for glass. Glass is recyclable (you can use high quality lenses for the rest of your life) and makes more impact to the image than any camera sensor could. Switching to M43 made a big impact for me in most all aspects (size, weight, money, quality, value, etc.).
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What Dean said.
It might be intimidating at first, but setting up a Resolve PostgreSQL server is definitely the way to go. You may not need Collaboration as you are only one person, but all the other benefits are worth it. And have a backup plan to backup the database (i.e. Backblaze).
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I prefer the RM-450 using LTC. More accurate. ?