[Seawild]

Ok.. This whole thing is finally making sence, i think..

1080p is segmented 23.98

1080i is interlaced 59.94 ?

Thanks for your patience Gary!

[Seawild]

Hello Gary,

Let me better explain my question.

They used a Sony Camera that recorded 8bit HDCAM tapes for back-up. They also used the 10 bit SDI output out of the camera to a FCP system with a new Kona card to record to 8bit DVCProHD files straight to firewire.

My question is “Is there such a thing as 1080p in DVCProHD” All I have heard about is 1080i and 720p.. as far as DVCProHD is concerned.

The DP is under the impression that they shot at 1080p. With the Kona card.. I think he is confused. Might I be wrong? This is important because there would possibly be a difference in quality.

Thanks,
Chris

Chris

[Seawild]

M.

Yay! Glad it worked out..

We use EDL MAX.. We always ask for 30 and convert to 24 ourselves. Works great!

Just curious.. Who did your scanning? What did they charge per frame?

Have a nice evening!

Chris

[Seawild]

Thanks!

We all have some serious problems. 😉 Not sure which sony camera, but it recorded HDCAM tapes.

Smart thinking callin AJA.

Thanks,Chris

[Seawild]

Howdy!

But I went with a new company to get my scans and they use a Da Vinci resolve.

< They use a Resolve to scan? wow. So, he delivered to me raw DPX files at 4:4:4 RGB and they are broken up into folders of 20,000 frames. Although the project is edited and I'm at the online stage, < You mean your comforming from uncut neg? I had the company transfer all of the footage because it was cheaper than having him hunt for selects. < Sounds very expensive. Hmmm. How much footage are you talking about? I then went to Glue Tools and downloaded the Cineon/DPX Component for Quicktime. I have that up and running. Is there a way using these tools to create uncompressed 1080 23.98 Quicktimes that have the timecode of the original transfer reels? < Sounds like you might have to break out each shot out of your DPX sequence/timeline and lay it into a new timeline with correct start TC and export with new timecode, if it's not reading the DPV header info. I have opened the DPX files in FCP and they appear with the proper timecode but how do I get an EDL to look to those files as the media to connect to? < Did you get flex files with keycode information? Is this what you used to edit with? Sorry probably not much help.. need more info. Chris 🙂

[Seawild]

Hello Russel,

How about if they captured from the 10 bit SDI out of a Sony Camera to a FCP system with a Kona Card straight to hard drives?

I looked at the Apple site and I did not see any reference to 1080p only 1080i and 720p..

We are working at native 23.98.

Thanks,
Chris

[Seawild]

HA! But then you’d be right again!

And those 720p frames are really still segmented right? Field one/Field two..? My understanding is that there is not really anything that is true single frame progressive. We couldn’t even watch that on a monitor right?

Does the Kona card maybe do 1080p?

Thanks Walter!

[Seawild]

Hello Fred,

Not sure about what you need to play back 720p, but I would guess to play uncompressed you would need faster drives..

But I CAN say that exporting and reimporting does help with the play back because the computer is not seeking all over the place, across all media drives for the media. It’s all in one file. And depending how you have your drives set up, can be in “One Location” so to speak..

I do this when I want to show people DV footage cut together without it droppin frames or if I’m recording to tape… DV exported, DV imported.. I’m told it’s lossless… I only use DV and my drives are regular ATAs.

Chris

[Seawild]

Is this about right?

HDSR = 10bit 440 Mbit/s or 880
D5 = 10bit 258 Mbit/s @ 23.98 but depends
HDCAM = 8bit 144 Mbit/s @ 23.98 but depends
DVC-HD = 8bit. 100 Mbit/s

[Seawild]

Charlie,

Actually we have had a lot of problems with data errors when recording to the audio tracks on HDSRs. It seems like it works better to record to all 12 tracks, even if you