Sean Oneil
Forum Replies Created
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[Devin Crane] “They will probably offer a $100,000 system for $10,000 to draw some of the higher end Avid guys”
Media 100 tried that already. Look what happened.
Sean
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[Danrnw] “Won’t the 1200 or 1400 convert to DVCPROHD, and whatever
the size and frame rate it is that DVCPROHD like to spit out via firewire?”It’s a good question. I haven’t tried it but it definitely could work. If I had to guess I’d say it would. Are you thinking of renting but want to know if this will work first?
Worst case scenario, you’d have to record it to DVCPro HD tape first, then output it to the computer via firewire.
You do know that a buying a Decklink HD might be cheaper than a deck rental, right?
Sean
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It’s not the speed of your drives. You could capture DV50 to an iPod if you wanted to. See if you get the problem capturing to your internal. If you don’t, then it’s definately a serious problem with the drives. Try Disk Warrior and if that doesn’t fix it, call Medea.
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[darkly] “1. I can use a hardware pulldown remove, and batch digitize all the DVCAM/DBeta source tapes into the 23.98 timeline. Should theoretically work, but would be extremely time consuming to rebuild from scratch.”
Actually doing this isn’t so bad. I ran into a similar problem. Although film wasn’t involved, the show was shot at 23.98, edited at 29.97, and then later had to be mastered to 23.98Psf HD.
You don’t have to rebuild it. Just batch recapture at 23.98 using hardware pulldown and it will reconnect everything properly. Then just copy and paste everything to a 23.98 sequence. It maintains the original 29.97 source TC from the tape even though the video is 23.98.
There is one issue to be aware of though. Occasionally at the end or beginning of a clip, it will be one frame short. These spots represent bad edits where you made cuts between fields. So use the up and down arrow keys to go through the timeline and trim the clips to fill the gaps.
Also you might want to check out JES Deinterlace. It’s free and it can do a reverse telecine while detecting cadence breaks.
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You can’t do it. Listen to Gary. The Quicktime DVCPro HD components are exclusive to Final Cut Pro customers. It comes with Final Cut Pro and there is no other way to install them on a Mac as far as I know. This is due to some sort of agreement inked between Apple and Panasonic.
Sean
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[Shane Ross] “This is only if it is HDV. I intermix DVCPRO HD 720p24 and 720p60 all the time and rather successfully.
The solution would be to capture everything as the same format. With the use of HDV decks and a Kona LH you can capture all your footage as DVCPRO HD and have everything uniform.”
The Varicam camera uses a slow shutter speed. As the name implies, it was especially designed so that you can change framerates in post and it will still look good because the motion is blurred. It was made to capture motion like a film camera.
Converting 1080i HDV to the DVCPro HD codec will not change the fact that the Sony Z1U looks awful when converted to 24fps. No matter what codec you work with in FCP.
Aside from that, I agree. If he converts everything to DVCPro HD 720p60, he can achieve a solid workflow. The only problem is that there will be major cadence breaks. But when you mix framerates like that, it goes with the territory.
Sean
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Regardless, a PS3 uses what’s called “HDCP Encryption”. Just like any cable box or Blu-ray player will. So you can’t capture from it with an Intensity or any other legal product. Especially not from a product from a company based in Australia where the laws are practically Digital Gestapo.
Sean
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FCP is not the right tool for this kind of project unfortunately. Mixing formats is the one thing FCP is way behind on compared to the competition. Of course for HDV, I’m not sure any NLE can do this with native HDV. You can use Media Manager, but the last thing you want to do is transcode HDV to HDV. It will really hurt the image quality.
Don’t convert 30fps and 60fps to 24. Bad idea. 1080i from a Sony Z1U (which I bet is the one you used) does not look very good when converted to 24fps. It has a high shutter speed which makes the footage look pretty jerky when you do this. That aside, FCP isn’t the best tool for framerate conversions. You’d want a Teranex ideally, and that brings you way out of the low-budget HDV workflow.
This is my suggestion. Invest in lots of SATA disks. And get an HDV to SDI converter. Miranda and Convergence make these. AJA does too now I think. Capture everything at NTSC from a Kona or Decklink (use the downconversion feature) and do your offline editing. Then when it’s time to finish, batch recapture the footage you used at the native res and framerate. The 24p footage will have flash frames so fix those. Then just render everything on a 720p60 Uncompressed timeline. You’re not delivering this on HDV are you? You really don’t want to do that. If you’re delivering on D5 or HDCam, it will have to be 720p60. There is no broadcast standard of 720p24. If this is for DVD authoring and not broadcast, don’t even bother delievering it on tape. Send them data files or at least downconvert it to Digibeta.
Sean
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I’d love it if the industry replaced digibeta with a far less expensive new format that could do uncompressed SD and could do 480p24.
One idea I had was a universal standard to record uncompressed or lossless SD onto existing high-def optical disks (Blu-ray or HD-DVD rewritable media). It could include TC user-bits, metadata, etc. “VTRs” could be made to operate like it was a tape with frame accurate insert edit capabilites.
The technology is there. But I’m sure it will never happen. SD will die with digibeta.
Sean
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Exporting directy from FCP to Compressor helps avoid these kinds of issues. When you do this, FCP tells Compressor additional information that QT cannot.