[Pierre]

It started out as VIPER footage that was shot to and HDCAM-SR 1 Deck. We shot at 1080P 23.98. Then we took the HDCAM SR Tape and went directly to HARD DRIVE via Final Cut Pro/AJA Kona 3… the media was captured as DVC-PRO HD 1080 23.98.

We’re doing a two pass VBR within standard def. All settings are set to “best”. So hopefully things will work out.

thanks!

[Pierre]

Thank you very much! I’m going to check in the the mixer now.

Michael

[Pierre]

I ran some footage through Cinema Tools. I used the conform to 23.98. The footage still looks interlaced.
Perhaps it’s the reverse telecine function?

Advice?

Thanks,
Micahel

[Pierre]

Great. Thank you.
Unfortunately the footage wasn’t shot at 1080i 24P “A” (advanced) – so I don’t know how to get the footage 23.98. Do I have to run it through cinema tools?

[Pierre]

I’ve got a 30″ & 20″ cinema displays. Don’t have the AJA HDP but I’ve thought about it. Those LCD cinema displays are big and high rez (and can certainly show 2:37 better than an L5), but I don’t trust the colors so much. So perhaps it’ll be a combo of the two. We’ll see. Meanwhile I’m talking to The Camera House here in Los Angeles. They no a little about how to handle Viper footage so, as I said before if the online prooves to be to much for me than I can go to them.

[Pierre]

“What are you doing about HD monitoring, and HD scopes” ?

We’ll be monitoring on a calibrated Sony PVM20L5/1 coming out of the AJA Kona 3. As far as scopes go, most likely we’ll use the scopes in Final Cut. If they prove to be innacurate then we’ll rent for a couple days.

[Pierre]

It’s a 8-10 minute western short. I chose the VIPER because I wanted to get the wide 2:37 aspect ratio and 4:4:4 (440 megabits) colors to boot.
We plan on down converting to DVCPRO-HD and then injesting into our final cut system for an “offline”. Once we have our offline locked we will then create an EDL and bring the HDCAM-SR/VIPER footage into the system for our “online”. If the “online” edit proves to be to much then we’ll have to take it somewhere else…. we will have either a fiber channel or something that can maintain the speeds necessary.

As far as the money goes… well yes I see your point, but I just like to save money where I can.

One of the things that I’m most concerned about is dealing with the greenish/flat raw VIPER footage in the offline. I know that’s how RAW VIPER footage is supposed to look, however we will need to apply somekind of a look (LUT) to it so that our downconverted DVCPRO-HD footage looks “normal”. As far as I understand this is something that would normally happen in a DAVINCI during on online coloring session…. but I guess we’re doing int a little differently.

Are there any VIPER/HDCAM-SR/POST experts around here? : )

Michael

[Pierre]

thanks everyone. Yeah- definately our mistake. Glad to hear it can be fixed with a little elbow grease.
Michael

[Pierre]

So is the HVX footage ever going to recover from interlace hell? Or is the footage now just doomed to a laborious process of trial and error in Cinema Tools only to find out that the best that can be done is still a compromise?

[Pierre]

oops. I don’t think we shot 24P A.
What’s the cinema tools process? I guess that’s a question for another forum?