Shane Ross
Forum Replies Created
-
Yeah, on my current show, an MPEG camera was shooting simultaneously next to the Varicam, and the audio and TC window information was being red right to it…so it had window code. Then the producer just dumped that onto his computer and was ready to go:
From the Panasonic Varicam, I feed the output to an AJA box (HD10MD3) that takes the HDSDI and converts it to analog composite NTSC out.
This composite out is fed into a horita box, along with a feed of timecode from camera TC out. From the Horita box (old WG-50II), composite video NTSC emerges with time code in a window at the bottom of the screen. Since the picture is 16×9, and the AJA box is set to letterbox it into a 4:3 picture, the timecode is almost completely out of the picture frame in the black lower part of the letterbox. Since the AJA does not extract the audio from the HDSDI, I feed audio from the headphone out of the camera, along with the video with the timecode window, into the Sony DCR-HC32 MP4 camera which records it on a memory stick as MPEG-1 files with muxed audio. 180 minutes of 1/2 size video fit on a 1gig stick. The stick is downloaded into the computer.For another client, I record onto mini DV camera and give them DV tapes with the downconvert with timecode window.
The only odd thing is that since the video is going through the AJA box, and the audio is coming straight out of camera, the audio is a frame or so ahead of the video. I have not really chased down exactly the offset, as the tapes are used for viewing and logging, not editing.
You could offline with these tapes, but they don’t have the 24 frame flags, and you would have to enter the code from a frame of the video into the system. You also might have to slip the audio back a frame against the video.The box from Miranda (the DVC-822 for Panasonic, and DVC-802 for Sony) can do all this and put it out over firewire with code, I think. The $10,000 price for the Miranda made us decide to go the AJA route, with the HD10MD3 box costing just under $2000. We tried another box called the DV portal which was supposed to take SDI and give you DV with audio and timecode, but the AJA box does not pass the rp188 code from the Varicam HDSDI, so the portal was not of any real use.
You could feed all this to a firestore unit to go straight to an editable DV file, or use the Sony analog/digital (or a DV camera) to give you a firewire to feed straight to a laptop in the field.”
-
Get Premiere Pro….and a PC.
FCP only does Quicktime MOVs.
-
-
Well what do you know!
I wish I knew the answer, but never having to do this, I don’t know what to do.
Where did you get the files from? Are they film dailies? Or shot directly to hard drive from an HD camera?
-
YOu will need something like the Standards Converter from http://www.nattress.com. $100, but does a bang up job.
-
I believe he means in realtime Chris…
-
OH, just as an FYI, Vegas 5 edits multiple formats on the same timeline.
-
This is true. It is best to capture everything with the same codec…DV/NTSC or 8-bit uncompressed for example. This way they all have the same dimensions and color space.
If you are working on a DV timeline, then capturing the HDV footage as DV is a snap. Most cameras downconvert on the fly and export a DV signal out thru the firewire cable.
-
How’s that for a one-two punch combination?
-
Nope. No native support.
That camera is designed to make a DVD that you just plop into your player and press play. It records directly to mpeg-2 compression, which is worse compression than DV. To work with this, you will have to convert the VOB file to DV using DVDxDV or Mpeg Streamclip. Then you will be able to edit it with FCP.
But if you then take that footage that you editing, and compress it again for DVD…it will look horrible. Compressed 3 times…MPEG-2 to DV to MPEG-2.
You are better served getting a camera that records to DV tape.