Russell Lasson
Forum Replies Created
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[Peter Litwinowicz] “Can the Firestore-100 store the 720p24 footage as 720p60 QuickTime files and not as P2 MXF files?”
With the new update to the FS-100, yes, it can.
You’ll want to get the new manual here:
https://firestore.com/support/downloads.asp#expand
For them to remove the duplicate frames, they will need to use the DVCPRO Frame Rate Converter (built in to FCP6, on the FCP Install disc for FCP 5.1, or from Panasonic’s website under resources for the HVX200).
-Russ
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[JeremyG] “I know I will stir the pot here, but we can argue all day and all night about whether or not capturing an DVCPro 8 bit tape as DVCPro HD is better/worse than capturing that same 8 bit tape into 10bit.”
The pot is already boiling over!!!! – just joking!
Jeremy brings up a good quote about digitizing. Often times with DVCPROHD it is best to digitize over firewire because it copies data instead of compressing then decompressing.
I’ve heard different opinions from several people that I respect and there is really no consensus. Overall, I can’t tell by looking at video which is better. Even if I zoom in 800% an analyze the pixel patterns. I think the only way to really know which is best is to know the math and compare what pixels remain. But I’m a little rusty on my video algorithms right now.
My current opinion comes from a Graeme Nattress post that Russ (not me, the other one) started:
https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=223&postid=1226
He’s not just a video editor, but the man writes good plug-ins and works for RED. Instant credibility.
Jeremy, regardless of how you convert your bits, we all still like you.
-Russ
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[Michael Lynch] “Anyway to do this without media manager and if not, suggested procedure?”
Select each clip in the timeline one by one export it as a self-contained file. ENJOY!!!!
or you can use media manager and make life easier.
Put all the clips you want it a timeline.
Select the timeline in the browser.
Select media manager.
Select Copy, Delete unused media, Use Handles (I’d suggest 5 second handles just incase)
Also select Duplicate selected items and place into a new project.
Select your destination.
Go for it.When you’re done, you can copy the clips/timeline back into your other project.
-Russ
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[russpond] “but I have another question for (the other) Russ.”
This will sound nerdy, but there are two people named Russ where I work. I was here second so they call me Russ 2 or R2 for short.
[russpond] “I was under the impression that I had to export the timeline from FCP to Color, then color the film and then go back to FCP (native DVCProHD) and then render the ProRes.”
FinalTouch used to allow you to render to a different codec than you imported your sequence as. Right before I started this DVCPROHD film, they changed it to try to limit problems with the XML transfer. So I had to convert the film to uncompressed, color it, and render back to uncompressed. Not what I wanted to do, but what choice did I have?
I don’t have Color running yet, but it’s my understanding that you import as DVCPROHD and render out to ProRes. It’s a very good workflow.
Read through the thread you started in the Color forum. Michael Sandness says a lot of useful info
https://forums.creativecow.net/cgi-bin/new_read_thread.cgi?forumid=223&postid=1227&univpostid=1188
https://forums.creativecow.net/readpost/223/1196?
Some people might thing that you still want to convert to 10-bit before, but I really don’t think that it matters because Color works higher than 10-bit.
-Russ (or R2)
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If you get a Kona LH, what do you need the IO for?
[Rainer Wirth] “How do you downconvert?”
I created my own settings in compressor after doing several tests. I downconvert to 10-bit uncompressed (soon to use ProRes) then deliver it to our DVD authoring company. But sometimes different footages needs some adjustments (especially if there is a lot of text).
As much as every one hates it, compression is an science, not a setting.
-Russ
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[russpond] “I want to create an intermediate project. I want to up rez the locked edit from the original 8-bit, DVCProHD codec to the 10-bit ProRes 422 so that I can get more dynamic color range when finishing the film.”
We’ve discussed this in the Color forum. By converting 8-bit footage to 10-bit, you won’t gain anything.
Color can work in 32-bit floating point. It will take the information from the 8-bit image and manipluate it in 32-bit floating point, then you should render out of Color to 10-bit ProRes or Uncompressed.
Converting 8-bit to 10-bit won’t change before you go into Color won’t change what Color can do to the image. I’ve heard it just take the 8-bit values and multiplies them by 4 get get a 10-bit file that takes up more space.
[russpond] “I’ve got a 2-bay SATA drive that will hold the media as I use Media Manager to create the new project.”
Use the Kona system test to see if you can uses these drives for uncompressed instead of ProRes. At 720/24P the data rate is only about 60MB/sec. It’s close, but it might work as another option for you.
As a side note, I’ve colored a feature that was shot on the Varicam in the old FT (before it was Color). In the dark scenes there was quite a bit of noise if I needed to lighten up an area. It’s suggest trying Nattress Color Plugins to reduce the noise. I didn’t at the time, but I wish I would have. Over all though, the Varicam gave me good flexiblity. It also helped that the DP was very careful not to overexpose the shots, especially skys.
-Russ
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Larry Jordan’s a smart guy though. I wonder what problems he’s seen that lead him to believe that there can be too much RAM.
-Russ
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I’m cutting a show right now in 5.1.4 and it’s driving me crazy because I keep thinking about all of the features that would save me 5 minutes here or 10 minutes there.
Plus Color and Motion 3 for $500, it’s a no brainer. It’s just a question of when you should do it.
-Russ
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If you want to finish in ProRes, the IO HD will be a great box.
If you need uncompressed, then you need super fast drives and I’d suggest the Kona LH or Kona 3.
How are you getting your HD footage? Is it 1080i or 720p? Is it 23.98 or 60P? What are you finishing to? (Answer these questions if you want more feedback)
-Russ
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[Rainer Wirth] “But you need testing!”
Exactly. What you do will change from film to film and camera to camera. The only way to know is to test before hand.
-Russ