Simon Morgan
Forum Replies Created
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cheers,
so all I have to do when finished offline is pull the PRO50 sequence over to a 10 bit SD sequence, render, CC, add gfx etc and away I go?
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I’ve seen many of them inside FCP and worked with it myself… but can never quite get a great look (especially if there are other similar colours in the frame) I’ve had better success with After Effects personally… just thought color or shake might offer something better…
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do your broadcasters not ask you to acquire in 1080? I can barely tell the difference between 1080 and 720 myself (on regular panasonic 26″ LCD monitor)… only time I can tell is when I split screen side by side… I can pick out a few things here and there. All my broadcasters ask for 1080 acquisition… do your broadcasters care as long as you give them the masters they are after? I usually have to deliver in HDCAM.
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My usual workflow is shooting HDX900 & HVX200 (second camera P2) shooting both at 720p23.98. I’ve found the HDX900 gives a great picture (when the camera is set up well) as does the HVX200. I love shooting HVX200 when we are on the road as I can unload everything from my 16GB cards onto my G4 and look at all the footage… great! I am lucky that I have a 1200a deck that I can capture from, so this works out very well too… I have 3 FCP machines set up at the office with over 12TB of storage, so usually storage isn’t a problem. On a corporate doc I can bring everything in a DVCPRO HD codec, skip the online process and I’m really satisfied…and the client is blown away by the quality.
Although the workflow works very well for what my company does in house (when we shoot & edit our own footage)… when I’m hired to cut a longform HD series (post only) I have been using my Kona card to downconvert from the SDI out of the 1200a deck or JH3… cut everything in DV over 4-5 months… then go into online. The only reason why I am trying to push the P2 is that the workflow works so well for me, and I can pitch people on faster than realtime ingest, less post expense (no digitizing needed) and no online needed.
Unfortunately the networks require the HD shooting to be done in 1080 for delivery, and we are in the same situation with having to supply field tapes… so until now I haven’t found any better way to do long form doc series in HD other than on the HVX900 in 1080. I would love to shoot in AVCIntra, capture in smaller file size (like DV) and then just relink to hi-res media after the fact… still the question is where to store the master files cheaply… your LTO tape is a great option…
Anyway, my series is going, so decisions have to be made in the next month or so… I’ll keep you updated… and I’d love to hear what you decide.
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yeah, usually I work in 720pN with P2 cards, but I have to shoot either 1080p DVCPROHD or in AVCIntra100. Looking for a way to save space in post… if I have 100 hours of 1080p shot at AVCIntra100 and bring it in to FCP at Pro res 422 I will need 8 TB to store that footage. If I shoot it at 1080 DVCPRO HD I will need just over 6TB to store it. I will more than likely have 200 hours or more of footage for a full season of a show (and may need access to all footage all of the time) so I need some way to be able to offline at a lower codec. I think compressor will just take way too long.
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Just found out that the other system they will be working with is a Media Composer Adrenaline v2.6… I will be cutting on an Xpress Pro v 5.7… does that mean that they should have the DV25 codec and be able to read and relink to my project no problems?
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If I upgrade to Media composer from Xpress which offline resolutions will I have access to… and will they all be easily read by a meridian based composer?
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yep… switched it to option 2 and it fixed the problem…
thanks for the help.
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Just uninstalled the drivers, reinstalled… same problems… i guess I’ll call AJA people if there’s nothing else you can suggest.
thanks
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no I did not.
I’m guessing I should… how do I do that?