Walter Biscardi
Forum Replies Created
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[Gracias] “Just keen to know what r the capturing setting which has respective codecs.”
All capture settings have codecs. Which codec are you looking for?
[Gracias] “Is it DV 48Khz is apple codec, and Targa cine Wave YUV is Cinewave codec, Cud any one please help to sort this confusion. So If I want to captue SDI then what?”
Apple has multiple codecs in Final Cut Pro. Third party hardware manufacturers generally add their own as well. To capture SDI, you need a hardware board with an SDI I/O. You then set FCP to capture using that hardware.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Leo Ticheli] “While it’s true that the native DVCPro HD codec looks good, it’s a very bad idea to use it if you are doing any effects or layers!”
I’m talking about raw, captured footage Leo. There’s no denying that the Varicam adds noise to the image, especially large solid areas like a wall. Look at the pure feed from the camera via SDI before you roll tape, then look at the tape playback. There will be some compression artifacts in large solid areas. The only way to get around this is to simply roll the camera directly to a D5 or to an uncompressed system like my Kona 2 system.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Your drives aren’t fast enough. You need at least a FW800 RAID unit like a G-RAID or a SATA or Fibrechannel array to play 10bit uncompressed.
Internal drives, FW400 drives and many FW800 drives can only play DV and maybe 8bit uncompressed.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[shane dillon] “If you look at all the movies being done in HD, how come none of the major studio use the format? I mean ILM (StarWars), Warners, Troublemaker(Sincity and Spy Kids)etc. all tried all the cameras, and all chose the F900 and F950’s. I really couldn’t name a major studio that shoots in Panasonic Varicam.”
I think the Varicam is really a “film for TV” type of format which gives you the look and feel of film for a much lower price point than shooting HDCAM. From all that I read, it’s the video world that is really going to the Varicam, not the film world.
Of course, we did shoot our indie film with the Varicam and 6 Canon Prime lenses and it did look gorgeous.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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I’m adding Tiger / FCP 5 to my primary HD editing system on Monday. Panasonic is delivering a D5 to our shop Tuesday for further testing. I’ll get back to you guys on Tuesday / Wednesday to let you know what we find with FCP 4.5 / 5.0 as far as frame accuracy.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Rob Bullard] “Automatic Duck anyone?”
The Duck is awesome! Using it right now to conform a show that’s cut for SD on the AVID Adrenaline and HD on my FCP / Kona 2 system.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Leo Ticheli] “Have you tried HD SDI capture, Walter? We do not use Firewire capture, only HD SDI, and the flags are recognized by our FCP systems.”
Why would I do that? I already said that FCP recognizes the variable frame rate with Firewire Capture.
We’ve done tests here comparing HD-SDI and Firewire Capture and find the footage to be indentical in capture, even up against an AVID DS/HD system. So we save all the storage space and capture Firewire.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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If a tape is truly recorded in variable frame rates, the flags must be recognized by Final Cut Pro via Firewire because it will automatically capture at whatever frame rate was used if you have the option to automatically capture only actual frames and ignore duplicate frames. I’ve done this several times in FCP where I’ll just leave it set to 720/60 on Firewire and any 24p shots are automatically captured at 23.98.
As for quality, yes, HDCAM is certainly cleaner and sharper than DVCPro HD, at least as far as i’ve seen in my experience. Especialy with solid areas like walls and such.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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If you’re color correcting for HD you want to see a true HD signal. A downconverted SD signal will not be a good thing for color correcting as you have a LOT more latitude with everything in HD. I’m finding this out as I start color correcting a show and my PVM20L5/1 is working beautifully for color correction.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Not sure if what you want to do will work. Generally it’s much better to recapture the clips to the EDL. Basically each of those clips are a Master Clip and FCP will more than likely have a problem trying to reconnect all the Master Clips to your single captured clip.
I do this workflow now with a show that’s cut on an AVID for the SD version of the show, then they shoot me an OMF which I convert via the Automatic Duck plug-in and conform the show to HD on my Kona 2 system. Works extremely well.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters