MiniDV to HDCAM Online?

Hi all
I shot a feature film on HDCAM and went to a company in london who dubbed the footage onto MiniDV for the edit.
They said there would be problem when with the times codes when I do the online edit. Something about they won't match up and I should have downgraded to BETACAM for the edit not MiniDV.
Does this mean that my EDL file will be totally out of sync when I come to the Online edit back onto the HDCAM.
Does anyone have any suggestions as to what I should do?
Thanks
Tom

There shouldn't be any issues whatsoever with timecode. I edited a film shot on 16mm, telecined to D5, downconverted to DVCAM...edited, then onlined the D5 masters using an EDL I generated in FCP.
The timecode matched up perfectly. And this is common practice. Editing downconverted DVCAM then onlining the online masters occurs all the time.
Why did they do the downconvert if they felt it would be an issue later?
You should be fine.
Shane

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I'm looking at setting up a Final Cut Pro HDCAM online suite, and I need to know what RAID system would be best for video storage. My reseller has told me that SANman systems are much better than Apple Xserve RAIDs, because of the data transfer rates. Can anyone tell me what systems they are running and what data rates are needed?

Hi,
Apple Xserve RAIDs are great but not cheap. Never heard of SANman, though!
Depends on whether you want a cheeper system to start with or ... HD uncompressed (single stream) needs sustained data rates of 200 MB/s. We have an HD system running OK (Media100HD, not FCP, though, but it shouldn't make a difference) with 4 large ULTRA ATA discs, striped with a cheap controller. The whole storage solution (1600 GB) costs less than $1500. Write back if you need the details.

How to use HDCAM with Final Cut Pro ?!?

Hi How is it possible to digtise/setup for working with HDCAM in Final Cut Pro 6? I have tried going firewire but there isn't a codec available. I have looked up this and its because Sony are owners so don't want to share...blah blah. Another option I want to try is that at work I have an AJA Bridge is it?? Is it possible to use that along with my own setup in order to get the footage into my laptop. Any advice would be great. I would prefer to use this format for my project if possible...thanks
Rich

Hi Rich,
Welcome to HD!
HDCAM is not 'native' so you'll need a third party interface to convert the video signal. Check out p.398 in the manual.
We use the BlackMagic card. But there are a number of cards and boxes out there that can get the job done....and yes, you do want to stay in the HDCAM format.
Another way we do it, is to transfer the HDCAM shoot tapes to miniDV (correlating timecode and tape numbers of course) and then digitize the miniDV stuff in natively...much quicker and easier to work with while you're editing. Then ONLINE the cut using the BlackMagic card redigitizing in your Master HDCAM footage. This might help you get started sooner while you're ordering your card.
Cheers,
Susan.

Is there a way to convert iMovie projects to HDCAM for a short film submission? They also accept 35mm or D i g i t a l B e t a N T S C. Help!!!

I am working on a short film project for a film festival - they require the film to be in either 35mm, Digital Beta NTSC or HDCAM. Is this possible with IMovie or in Adobe? I have tried to research this online and am not finding out much information. I am hoping someone here has knowledge of these types of conversions and can point me in the right direction. Help!!! Thank you in advance for any thoughts or ideas!!!

35mm is film and Digital Beta and HDCAM are tape.
iMovie is not able to output to tape and even if it were you'd need a the appropriate tape deck to do it.
Your best bet is to find a television post production house that can take a computer file and output it to tape.
Where are you located?
Matt

Aspect Ratio Problem with Onlining

Hi,
I checked the old posts and couldn't find an answer.
I'm using Ken Stone's article to online my project. I followed the instructions except for the point right after the new online file is created and just before you capture footage. He says to change the Audio/Video Settings to go from Capture Preset (DV to OfflineRE NTSC (Photo JPEG) to DV NTSC 48 kHz). I did that. I also changed the Sequence Preset (which wasn't mentioned in the article) from Offline RT NTSC (Photo JPEG) to DV NTSC 48 kHz.
When I captured the full-res footage, the clips were squeezed to look more widescreen. The image hadn't been cropped, just stretched.
These are the sequence settings for my offline project:
Frame Size: 320x240 Multimedia Large (4:3)
Pixel Aspect Ratio: Square - (Anamorphic 16:9 box not checked.)
Field Dominance: none
Editing Timebase: 29.97
Quicktime video Settings
Compressor: Photo - JPEG
Quality: 35%
These are the sequence settings for my online project:
Frame Size: 720x480 NTSC DV (3:2)
Pixel Aspect Ratio: NTSC- CCIR 610/DV(720x280)- (Anamorphic 16:9 box not checked.)
Field Dominance: Lower (even)
Editing Timebase: 29.97
Quicktime video Settings
Compressor: DV/DVCPRO - NTSC
Quality: 100%
I filmed the original footage on miniDV (NTSC) with a Canon GL2 3CCD camera. The footage was onlined with a Sony DCR-HC32 1CCD miniDV (NTSC) camera. I'm using FCP 5.0.4 on an apple powerbook g4. OS 10.4.8
I'm sure the solution is something small that I'm missing. Thanks a lot for any help!

Hey you might have already done this but check the settings of the new clips not just the sequence. Right-click on one of the affected clips in ur browser then go down to item properties-> format and see if the anamorphic option is ticked on these. Hope this helps,
Howard
G5 iMac 20inch, Macbook Mac OS X (10.4.7) FCS 5.1, 500GB External

Final Cut Express as Offline - Final Cut Studio 2 as Online?

Is it possible to use FInal Cut Express for offline editing and then replace the media with HD versions for online editing in Final Cut Pro?
Example of our proposed Workflow:
1. Capture HDCam footage from CineAlta Camera into Final Cut Studio 2 at DVCProHD 1080i60.
2. Use Media Manager to create a copy of the project while downconverting media to DV.
3. Transfer project folder to other Mac running FC Express. Create FCE project file and create an edit using DV footage.
(here's where I'm uncertain)
4. Can FC Express export EDL's or in some way get that edit back into FC Pro, where I can relink back to the DVCProHD media?
Thanks to anyone who can help with this.
Message was edited by: cvc1968.mac

Well, I gained access to a computer running FCE 4 and created a test project. When I try to open in in FCP 6.0.1 I get a message stating that the file format is "too new" for this version of FCP.
I guess I need to try FCE HD 3.5, but it will not run on any computer without an AGP graphics card.
This shouldn't be this troublesome, should it?

Hdcam workflow

Hi all,
I'll have a project comes in as hdcam source but the final is sd dvd so I am thinking of this workflow:
1- capture as proRES hd - edit - export to qt as is & compress in sd- author in dvdsp. back up the project in the hard drive with that proRES hd qt, so i don't have to pump back to hdcam deck.
2- same as option 1 but consolidate the project & recapture as full hd & pump to hdcam for back up.
3- capture as full hd. but don't know if my sonic sata enclosures can handle it. I have 1 promax 5bay sata enclosure & 1 sonic 5bay enlosure. thinking raid them together with 1Tgb then i'd have 10Tgb there.
please help.
thanks
JP
ps: with option 1 can i edit proRES HD in new macbook pro or have to be mac pro quad? I have both. thinking of using g5 to capture & edit on laptop too.
Message was edited by: JPNG
Message was edited by: JPNG

As long as you have the proper equipment (HD capture card, high speed drives, HD broadcast monitor) and the skills needed to online, then you should be fine. If not...then you are just shooting yourself in the foot. This isn't a MONEY GROWS ON TREES thing. If you think money grows on trees here in CA, you got another thing comin! Just figure that it'll be cheaper to hire someone with the proper equipment to work on this for a couple days, rather than go out and buy, or rent, the equipment needed to do this...possibly doing something wrong...and ending up hiring someone anyway to fix it.
You won't believe how often I or someone else is hired to come fix something that was done incorrectly.
This isn't to say that you don't have the experience. There is no way of knowing this from the short postings you have made. But unfamiliarity with the online process indicates a lack of knowledge in this area, and we just want to give you fair warning.
Shane

FCP HDSR Online Workflow

I'm editing a 35mm (2 Perf) feature in FCP using a DVCam offline standard workflow. We will eventually online to HDSR which will then be used to conform the film for film-out.
My question...
It is very expensive to have the post place to the HDSR online, and all they are really doing is capturing the HDSR tapes to the FCP sequence. My producer owns a AJA ioHD box and as u can see, I have a powerful computer.
Could we just rent the HDSR deck, and use the AJA box to online it ourselves. I've heard something that we need an internal RAID or something, and that the AJA box might not be able to handle the 4:4:4 color.
Any thoughts would be appreciated. Cheers

1. Yes they are. Does that affect anything in this potential process?
Wait, the DVCAM are 29.97 and the HDCAM tapes are 23.98? Whoa... well, I'll stop you here and say hire someone. Your entire offline cut and all of your footage is in a completely different timebase than the masters. This affects EVERYTHING in the process. Now you have to spit out EDLs and convert the EDLs and then make sure that the captured footage didn't slip any frames forward or back. There's a LOT that needs to be done to ensure that you capture the right footage. This isn't something a beginner should tackle. Pay someone, do it right.
2. Is the AJA Kona 3 a card? I assume 4:4:4 is required?
Yes, AJA Kona 3. And I mentioned 4:4:4 because YOU mentioned 4:4:4. Now, are you going to master on HDCAM? Or HDCAM SR? Well, since your footage is already on HDCAM, the damage is done. HDCAM is 3:1:1...yes...you read right. 3:1:1. So going 4:4:4 is pointless. Best to work 4:2:2 (normal) and then just output back to HDCAM. Except you are going to FILM OUT, right?
Hire someone.
Shane

Carrying motion effects from 30fps to 24fps project for online

I'm working on this program where they transfered their dailies footage to HDCam, then they downconvert their dailies to DVCam letterbox with burns. There are some effects (split screen, crop) on the motion window and now it's time for the online and the effects look all out of place. The cuts are at the right spots, but the placement in the screen is out of whack. They are all on top of one another and squezzed in.
Let me explain the shot: 3 people all talking but each one of them is in a diferent split screen, then all 3 of them show up. 1 person occupies the top left, the other one the top right and the last one at the bottom of the screen.
The DVCam downconvert of the masters are lettebox with burns, and it seems that the effects won't apply to the HD online since all the effects look squeezed together (like it was made for 4:3 instead of 16:9)
Now, my question, does anyone know how to transfer the effects from a 30 fps project to a 24 fps project? More specifically, how do I transfer the effects made on the "motion" windows to work on an 23.98 timeline.
Thank you in advance for your help.

The red & white checkerbox means that in the rendering process it cannot find the media.
Strange why this happens on only two instances though
Have you tried trashing your prefs and repairing permissions.
Could you render directly out of Motion and then drop the movie into FCP?
Peter

Audio Artefacts / Freeze Frames post-Onlining?

Hi all,
Am experiencing some issues with my captured clips in FCP... might not be an FCP or hardware problem, but would like some advice.
1) Recently, I've noticed that audio artefacts have been appearing in the audio of clips I've captured [DV footage from a DV camera, shot on new Sony MiniDV tapes, through a Firewire 400, sometimes using the same camera that shot the footage, through 'Offline Photo JPEG' and also 'DV25PAL']. There will be the occasional but noticeable 1 or 2 frames of audio distortion, whereas the rest of the audio is perfectly fine.
Incidentally, I've just finished reading 'Optimizing Your Final Cut System' from the Apple Pro series of training books - really useful stuff - and their audio troubleshooting section doesn't help in my situation.
It's not a settings problem - it was shot on 48kHz, 16 bit and captured as such. I've listened to the source tape - it's clean. The sequence is set for 48kHz and 16bit [plus, apart from the very random audio kink, the rest of the audio is fine].
I've tried recapturing the offending clips but the audio distortion will just occur in another section instead. Hmmm...
The only suspicion I have now is that the Firewire cable is wonky. Do you guys have any other suggestions? And if it's a Firewire issue [mine's a regular $10 cable bought from an electronics store] - any tips on picking a reliable Firewire cable?
2) A little question on smooth onlining [Ken Stone's website has done a good job of providing the tips and tricks... but there's just one thing I'm still curious about...] I realized that if I online using the process detailed here: http://www.kenstone.net/fcphomepage/basic_onliningjordan.html , I still face problems with freeze frames that I'd made - the corresponding footage that the freeze frame was taken from wasn't automatically selected and up-rezed by Media Manager.
Apart from going back and capturing the freeze frame footage manually or bringing it out to Photoshop and then bringing it in again, is there anything else I can do when preparing my offline sequence for online?
I'm currently editing with FCP 5.1.1 on a Powerbook G4.
Powerbook G4 Mac OS X (10.4.7) Final Cut Pro 5.1.1

ON the audio issue: are you finding the problem with a single track or do you have multiple audio tracks? I've seen some problems that were eliminated by "mixdown" of audio tracks in a project.
If video is fine and audio is not, the cable is not a good suspect - general data corruption would be in both, I think. It's possibly an RT problem; maybe your system is too slow?
Just some ideas.

HD Camcorder w/iMac - MiniDV tapes or Digital harddrive better w/iMovie08

I'm looking at purchasing a new Canon camcorder either the HV20 or HG10 and have a new iMac with iMovie08. The HV20 uses the miniDV tapes and the HG10 has a 40 GB harddrive. Does anyone have any suggestions between the two types? I like the idea of not having to buy tapes but wasn't sure if I would have any import or quality problems with using the camcorder with the harddrive. Thanks.

Welcome to Apple discussions robnorv,
Look through the threads here and compare the number of problems encountered with hard drive cams, as opposed to miniDV cams. The choice should be clear and, as a bonus, with miniDV you will have unfettered access to use iMovie 06, should you find that iMovie 08 doesn't offer you enough editing solutions. You will have some quality degradation using a hard drive cam due to the high compression the format uses. DV is what iMovies all use and a miniDV cam will need no conversion processes to get the video into any iMovie programme you choose to use. Do some more research about these factors before you decide.
Tape cams also allow you to back up your completed video to a tape for archival purposes. If you go miniDV, it is good practice to buy quality tapes and always stick with one brand. Different manufacturers use somewhat different tape formulations and changing tape brands can cause head clogging problems. I bought several boxes of one brand (Panasonic MQ) online, where you will find good deals.

HDCam for Green Screen - ingest as Pro Res or Pro Res HQ?

Hello Experts -
Am moving into new territory here as am in the planning stages for a job that involves lots of Green Screened Talent. Will shoot on HDCam.
The plan is for me to ingest the material to a raid, do the offline, then move the raid and the FCP project to a Smoke on the Mac system for the online. This what I have not done before, as usually we would just recapture the footage for the online on the Smoke.
The end output is not for theatrical projection, it will be displayed (as far as I know) only on large HD screens.
Should I work at ProRes or ProRes HQ for the green screens?
As always, your expertise appreciated.

HDCAM is that compressed format that is 3:1:1 isn't it? Supposed to be all high and mighty, but then there's that.
I'd just do standard ProRes 422. Don't think HQ will get you much.
Shane

Device online, but cannot control camera from Capture screen

I have a the camcorder listed below connected to my computer through a firewire card (also listed below), and I'm trying to capture video from tape with Premiere Pro CS4. The camera is online, and if I use the controls on the camera player to play the tape, the video shows in the capture preview, but I cannot control the camera from the capture screen.
Device Control is set to DV/HDV, and set device to Samsung.
Any idea what's going on here?
Operating System: Windows XP Professional
Sound card / driver version: SoundMax Integrated Digital Audio driver:5.12.1.5246
Video capture card / driver: Texas instruments OHCI compliant IEEE 1394 firewire card, driver:5.1.2535.0
Camcorder: Samsung SC-D363 miniDV, driver:5.1.2600.0
- Amanda, Carolina Tiger Rescue

Yes, the record button is live, just the controls to control the tape deck in the camera are greyed out.
I have since borrowed a Sony DCR-HC42 to capture from, and the controls are working for it. However, it will not capture by setting In Points and Out Points, I just have to position the tape as best as possible, record and select when to stop the recording stop from the Preview. It's not ideal, but it's getting the job done.
This sort of problem seems to be par for the course when using Premiere on a pc. Users just have to plan on a few days to resolve compatability issues that should not have existed.
so for the moment, no critical issues, but once this project is done I will need to revisit the problem.
thanks for the help! Amanda

FCP Offline/Online Workflow

i am not sure if this is the right forum or even an apple app question (someone direct me to a good sourse if not please) but, I am needing to do offline edit from HDV source and some HDCam source.
Based on my previous method of this in the SD world I would choose the photojpeg codec to save space and then online/uprez.
With HD and a Kona 3 card I dont see HD/SDI (HDSDI) NTSC Photojpeg Anamorphic capture codec. Even when selecting uncompressed HD I get disables view in the capture window so I know that's a card thing but capture the sd downcovert to test the codec I chose the SD Kona I/O and selected the SDI NTSC Photojpeg Ananmorphic codec and instead of reducing the image resolution/pixels and preserving frame size of 720x640 (or whatever is it in cant recall with these numbers in my head right now) its reducing the overall frame size too to like 320x240. i know i can then resize but is there a way to get the HDSDI to low rez photojpeg and not only reduce quality but keep the 16:9.
I tried to adjust the HD codec and reduce quality by 70%...couldnt test cause HDSDI on K3 isn't seeing the sig from HDCam VTR. But the 320x240 would work i just dont want to resize the images/clips.
Anyway, any ideas or help to get me going to capture low rez maintaining 16:9 (with reduced qual through pixels and not frame sizes)for a later uprez. Ive done theis beofre on an hd show about 3 yeasrs agao once, I cannot remember though and it was on FCP too in an offline/online workflow. I think we did it using sd capture from sd source, hmmm with the deck set at anamorphic/squeezed output to ana capture and then it was normal in sequence.
but in this case i am still dealing with small frame sizes 320x240...HELP!

ok, i'll look at the disc's. i think we just downloaded the full codec pack from aja's site..i do know when i check the "show all" box a boat load of codecs show, i believe i've seen one for hd...but any i seen reduced the frame size to something realy small.
i'll double check this new card kona3 and see what it's codec pack is.
thanks and i'll post my findings. geez, this should be simple...go from hdsdi to a low rez codec but keeping the full frame size...that's it done. and then uprez later using dvcproHD (well that's what i am using to save some space and it's a great codec.) but that's how easy it should be...works that way in sd too. i think i need to go in sd anamorphic and set the vtr's output to squeezed...i dunno i'll hopefully find help or figure it out one way or another.
thanks again, keep me posted with ideas..THANKS@!!!!!!

New Workflow from HD-SR/Raid/Portable Drive/FCP_offline/email/online ???

hey-
The office has recently purchased the first Final Cut System and I want to run the workflow idea past some people to see if I'm overlooking anything. The system is intended to be an intermediate not an editor.
Our goal is to recieve the tapes. (HD-SR/HDCAM/D-Beta)
Capture to our FCP Scratch at an offline resolution
Copy from our Raid to the client's hard drive.
They Create a Project with settings relevent to format.
Email us the Project File, Upon opening connect media to Full Resolution files from which we can lay back, or format for Discreet Smoke of Nitrus DS
Does anything in there not work? I think it's good but my only concern is with the project file. Is that all we will need to create the online?- We will have the tapes to recapture from...
Any Help is greatly appreciated. Feel free to email. [email protected]
Thanks,
Mike
iMac Intel Mac OS X (10.4.7)

We do similar projects here with our HDCAM system. What I do for our external editors it pretty much your workflow.
1. Create FCP Project called " 'Your Show' DV"
2. Log and capture footage using Dconv HDCAM to DV
3. I use MEDIA MANAGER to copy show to an external FW drive along with FCP project file and I keep the copy of the show and media for a visual reference later.
4. Editor edits offsite and brings back FW drive.
5. I open his new project and reconnect media to make sure all is well.
6. I use MEDIA MANAGER on his Sequence and do an OFFLINE making the setting 1080i HD and deleting unused media.
6. Rename the new project file as " 'Your Show' HD"
7. Then I batch capture at 1080I settings and get a recompressed show in HD with only needed media capture at hi-res.
Hope that helps
JP

MiniDV to HDCAM Online?

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