35mm, DigiBeta or DVC Pro HD (1080/60i)???

Looking for some guidance .......
we edited a short file that was originally shot on 16mm, but the filmmaker decided to transfer it to DV cam for some unknown reason. We logged and captured with a DV deck and naturally assumed that the final output would be DV cam again. But now the filmmaker advised that it is needs be in either 35mm, DigiBeta or DVC Pro HD (1080/60i) for their screening.
We know already that 35mm is crazy expensive. How would go about Digibeta or DVC Pro HD? Can we rent a deck? Any idea how much? Or is it better to burn to DV tape and do an outside transfer? If you need futher details, please feel free to email me at [email protected] or aol IM at paknyc
Thanks,
joeyngloria

well of course that's the cheapest and easiest way to go but you shot FILM! It deserves much better treatment that a DVCam xfer.... but if ya don't have the $$$$ then that's another story.

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DVC Pro HD corruption

We started working with the Final Cut 6.0.1 last week on a Power PC G5 Dual 2Gb. We receive quicktime files from the lab with the following compression DVC Pro HD 1080 p25 (We have the QT Pro 7.2) Our sequence has the following setting DVC Pro HD-1080 p24. Now the problem we´re having is that once we conform the quicktimes from 25fps to 24fps through Cinema Tools, when we import them to Final Cut the conformed clips show at some points few corrupted frames (the screen gets all colorfull pixelated) . The clips from the lab look fine at 25fps, so we think the problem might be with the Cinema Tools. Why this happens? Or the problem could be when we copy the material to our 4 disk SATA internal raid?
Also we have problems to merge audio and video clips. We mark both the in point at the slate chack, and once we merged them the audio is randomly merged and not precisely at the mark we set. And the difference is not constant, so in one could be 7 frames, and the next more than a second, either after or before the image´s chack. By the moment we´re merging through the timeline, but it takes us more time.
This has happened to us in the past, but just a couple of times, now it seems that it doesn´t work at all, and we don´t know if it has to do with the 6.0.1 version.
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I've noticed this merge problem when adjusting the in audio point at millisecond. Setting the in point on a frame creates a correct merged clip.

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Could it be the case that you have "proxy media" selected in the preferences (under Final Cut Pro -> Preferences, click on "Playback" and see which is selected, proxy or optimized), BUT you are not creating proxy media when importing?
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Trouble Importing Canon XF Files at 1080 60i (59.94i)?

I am completely new with Premiere Pro and editing in HD for that matter. I am still using the trial version of Premiere Pro CS5.5. My issue is that I shoot on an Canon XF300 at 1080 60i. When selecting a new project I select the following Preset [Canon XF MPEG2 1080i30 (60i)]. This is the only Preset setting I see that is 1080i and at 60i?
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Thanks!
Chris

Thanks Jim for the response - so I am using the correct setting after-all. Apparently I do not understand the difference between frame rate and field rate.... it has been a truely monumental learning curve shooting with this camera and now this editing software. I am having fun with the stunning footage but it has been frustrating at times.
One additional question - why does the Media Browser list the "Frame Rate" of these clips as 59.94i and in the Project folder the "frame rate" is 29.97 fps? - Is it because the 29.97 FPS is literally 30 frames displayed per second and the 59.94i is the interlaced 60 frames to make the 30 fps? Obviously you can probably tell I am a novice.
I should then expect that this playback of this "60i" footage on my computer display will not look as smooth as the playback through a blu-ray on a HD TV?
Thanks again and I appreciate the help!

Should I record video in Iframe format or other format such as 1080/60i or 1080/60p--want to import to imovie or abobe premiere?

I am traveling and recording video using a panasonicHCX920 full HD camera. I will probably import video into Imovie 11 on my Imac--but if I switch to final cut or Adobe premiere what recording format should I use? I know Iframe works--but does it work for HD movies played back on a HD TV? Which format is best?
1080/60I (1080/60p) or Iframe?
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Hi
iMovie can not yet - use p50 or p60 - as standard at all !
So I would use i50 or i60
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Importing DVC PRO 50 footage into Premiere Pro

I recently imported some DVC PRO 50 footage into Premiere Pro. I used a rented DVC PRO 50 deck via firewire 400. The footage came in at 480 x 720. Is this the actual resolution of that format or is it the default setting in the Premiere Pro import module? A few months ago, I imported some HD footage from a tape format using the videographer's camera via Firewire. It also came in at 720 even though it was supposed to be 1080 footage. Is there a way to set a target resolution in the PP import module before importing? Or does it bring in whatever resolution the source has?

DVCPRO50 is standard definition footage at 50Mbps. So 720x480 is correct.

1080 30p recorded as 1080 60i ?? (Jeff B. or Ann) ?

Using CS6. I set my camera on 1080 30p, but the owner's manual shows this:
After further searching I found that the explanation seems to be that 1080 60i is the wrapper.
So, when I set P. Pro CS6 to 1080 30 p, P.Pro tells me that's the wrong setting and promps me to select this editing mode.
Upper field in progressive video ? No mention of progressive here.
When I export my project as progressive, using Encore, I can see small jaggies where contrasting colors meet. Very much like I used to see with interlaced video.
I tried Max render quality and 2x VBR encoding, but I still get the small jaggies.
Suggested solution?

Hey, I see the whole gang is here! Just thinking out loud but follow along. (Rounding to 30 for simplicity only). If you record in TRUE 30p, the camera is grabbing/recording an entire frame of video every 1/30 of a second. There are no fields, just one full frame (image) from one moment in time. When recording 60i, then two individual fields are recorded at different times, for instance all the even lines are grabbed at one moment (1/60 of a second) and the odd lines are then grabbed 1/60 of a second later. These fields are combined to create a frame of video covering 1/30 of a second in total. However, since the two fields have a temporal (time) difference, the two fields may not match where there is motion. Things changed in the scene between grabbing field 1 and field 2. That's where we get motion blur and artifacting with interlaced video, while a frame of Progressive video is a "snapshot" of ONE moment in time.
My understanding of the "30p in a 60i wrapper" is that the camera is still grabbing a full frame in 1/30 of a second, as it would if recording 30p, however that frame is then split into two fields before being saved to tape/ SD card. The two fields are from the same MOMENT, so no temporal difference, but they are not "identical" as one field has all the even lines and the other has all the odd lines to complete the frame. Each "field" contains unique information, though the times match on both. These two fields when combined into a full frame should have the same "look" as though it was recorded as 30p.
So the way this "30p in a 60i wrapper" thing ought to work is that when viewing it, the 60i should look the same as 30p, should it not? So edit AND deliver as 60i. If the video is "deinterlaced" at some point, you would be throwing away one field, in effect halving the resolution, which is going to make the video look jaggy.
I could be wrong, but this seems logical. Please correct me if I'm off base ;-)
EDIT: Of course, if exporting for web, then that output is always Progressive, so not sure how that gets handled. Would it help to "Modify > Interpret As > Progressive"?? I have no footage with which to experiment unfortunately, but I feel that for DVD or Blu-ray, then 60i seems the way to go.
Thanks
Jeff Pulera
Safe Harbor Computers

Panasonic TM-700K 1080 60i Footage and Workflow

Hey Everyone,
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Hi David,
I remember you from the other TM-700K discussion. So I am assuming that the video is supposed to play at 29.97 frames per second, but what easy setup option do you use to optimize the 1080 60i footage? I thought it meant 60 frames per second. When I used the DVCPRO HD 1080i60 easy set up option Final Cut Pro converted that setting when I dragged items from the capture scratch window into the timeline. Do you have a good workflow that works well for the 1080i60 footage and if so could you possibly post it? Thanks for your help.

Using DVC Pro HD with FCP 5.1.4

Hey everyone!
I'm planning a new project and both the client and myself would like to use DVC Pro HD for filming. I'm just a little worried about how FCP 5 will handle the gig. As well I like to know if any other gear such a Raid drives are necessary. I would really appreciate any advice.
Thanks in advance

Hi Shane,
You answered a questioned I posted on the apple discussion site about editing in DVCPRO HD, I guess because my gig is rapidly approaching and I want to get things done right I have another question. I hope you don't mind.
I have a MacBook Pro 2.16GHz with 1 gig of ram, I was planning on using an AJ HDX900 or 400 for shooting. I'm going to purchase an Apple 23" inch cinema display and most like a Matrox MXO as you suggested I would probably need. " Buy what you need when you need it" or something like that right! You can see I have been reading your blog. Back to the matter at hand, I was wondering if my set up is fast enough and powerful enough to edith the material and do I use the Matrox to output to a betacam deck afterwards? Sorry my questions may seem a little or very simple but I am rather new to the industry.
Thanks for any help,
Guy
PS I also mailed this to you so just ignore one or the other, thanks again and happy Canada day!

Can't add files filmed in 1080/60i to Premiere Elements 12. I have no problem to add files filmed in 1080/30p. My camera is a Nikon aw1

Can't add files filmed in 1080/60i to Premiere Elements 12. I have no problem to add files filmed in 1080/30p. My camera is a Nikon aw1

lurkfan
What computer operating system is your Premiere Elements 12 running on? Have you updated 12 to 12.1 Update using an opened project's Help Menu/Update?
If not, please do so.
Please clarify "Can't add files filmed in 1080/60i to Premiere Elements 12."
Are you importing the 1080 60i into the project using (Expert workspace) Add Media/Files and Folders/Project Assets?
If so, are you getting an error message inside of the video appearing in Project Assets?
Are you setting the project preset manually or letting the program do that task automatically?
What is the project preset?
(See Edit Menu/Project Settings/General).
The project preset should be, for your 1080i...
NTSC
AVCHD
Full HD1080i30
What is the project preset for the 1080p footage?
(Also see Edit Menu/Project Settings/General.)
The project preset should be, for your 1080p
NTSC
DSLR
1080p
DLSR 1080p30 or DLSR [email protected]
Since your camera appears to be producing AVCHD.mov files, do you have the latest version
of QuickTime installed on your computer with Premiere Elements 12/12.1?
The answers will be in the details. Please review and then let us know the details and results
based on the above.
Thank you.
ATR

Do I need to up my rig for DVC Pro or XDCam?

Hi, all.
I've been editing ACVHD shot with a Canon Vixia camcorder, which hasn't been much of a problem in terms of file sizes and processing. We're looking to improve our video capabilities and I've started shopping for a decent pro-sumer video camera. I'm looking mostly at Panasonic and Sony cameras and would like to know something about how the DVC Pro or XDCam formats work with AE and Premier. I'm assuming that these formats will produce much larger files, requiring more storage and possibly more processing power. At the moment I'm running a Dell Precision 490 tower with these specs:
Windows 7 Enterprise - 64 Bit OS
Processor: Intel (R) Xeon (R) CPU 5160 @ 3.00GHz (2 processors)
4.00 GB RAM
150GB HD
I've been running CS5, but an upgrade to CS6 is on the way. Project files have been stored on a network server, so the small HD hasn't been a problem, but I'm usually writing and reading over ethernet. Our finished videos usually run about 3-5 minutes, but occassionally we might do something running between 20-30 minutes.
So, my questions:
- will this system, as is, be able to handle prosumer video formats? If not, what kind of system or external hardware would I need to bring me to at least entry level specs for this kind of work?
- will working over the network be an issue? If so, what will I need for internal/external hard drives?
- are there other questions I should be asking? What am I not considering?
I don't know how much money I can get for this, so I need to bring my bosses a number that won't scare the hell out of them. I can probably bring the camera and assessories in for under $10,000, but I'm guessing that adding two new high-powered work stations might double that figure. Not sure exactly where the line is. Can anyone offer any insight or advice? I certainly don't want to invest in a decent camera only to find I don't have the muscle to edit the footage.
My thanks in advance for any help or information.

Well, the deal is that I work for a State agency where I produce videos for public consumption via our YouTube channel as well as training DVDs and some other applications. It took me about seven years to get any money to work with (used my own personal cameras until then), and even then was given only $3000 to buy a video camera, DSLR, lighting, and teleprompter. After a three more years of whining, they've finally decided to "resource" our production effort.
I suspect I can wrangle about a $10,000 budget, but I'm hoping I might be able to get as much as $15-20,000. This has to buy a camera, accessories, and anything else I may need for the foreseeable future. Renting isn't really an option and whatever I get now is probably what I'll be working with for the next 6-10 years (if I don't get a better job or hang myself before then), so I want to invest in technologies or formats that have staying power.
That's why I'm asking whether I need faster machines to handle these pro and prosumer formats. If I need to factor new workstations or other hardware into my calculations, I'll need to plan for that now. From what I'm reading, it seems that it'll actually take less processing power to work with intraframe compression, but this may be offset by the much larger file sizes.
By the way, I really appreciate everyone's responses. This community has unquestionably been my most reliable resource for over fifteen years now.

Transfer vision from DVC PRO 50 to XDCAM for Final Cut Express

Hi there friends....
I would like to transfer vision from DVC PRO 50 to XDCAM 700.
Can you please advise the best/quickest method.
Regards

Hi Flore
This a huge debate. There are very few advantages to the new AVCHD camera's and the vgery long list of negative aspects of AVCHD camera's outweighs any usefulness of them. They are designed for Grandad to pick up and shoot good quality pictures and not for editing.
I have posted below the wiki address for AVCHD, please read the page. It is very important you do read it. It explains in depth about AVCHD.
I feel the is no real place for the hard drive based AVCHD camera. There is a place for a mini-dv tape based camera.
Life will be very hard if you go the Hard-drive camera route. Stay with tape.
Tape is cheap, hardy and easy to move around. Hard drives not so!!!
Take some time to read the following wikipedia page...PLEASE READ THIS PAGE!!!
http://en.wikipedia.org/wiki/AVCHD
You will see that AVCHD is not all the bee's knee's.
I personally hope it dies an extremly painful agonising drawnout death.
AVCHD has no place in the professional domain.
Justin... Durban.. South Africa

DVC Pro Tape and DV tape not good in Final Cut Pro 5?

I have a DVCPro tape along with a deck as well as a DV tape along with a deck for that.
I started final cut pro and used the NTSC easy setup. I first captured the DVC Pro, when it was done i tried to play it in the viewer and it would play for less then a second then stop. However when i brought it down to the timeline it played fine in the canvas.
So i when ahead a captured the DV tapes onto the same project. When it was completed i tried to play it back using my DV hardware to my TV but i would only see picture and no audio. ALl my settings were correct and the audio would only play on Mbox or the internal speaker in a G5. I thought i had a bad connection but the DVC Pro tape worked fine with audio. So i figured i go back to the DVC File i captured and when i pulled it up in the viewer everything is green and no picture what so ever.
Can anyone please help

#8 External Monitor Viewing.
Shane's Stock Answer #8:
A simple path is mac > firewire > camera or deck > rca cables > tv
Then start up your camera and tv, then open fcp.
Then go View > External video > all frames
Video playback should be Apple firewire NTSC (If you are using an NTSC set)
Audio playback should be Audio follows Video
Techinially, this should send synched video to your TV
If for some reason you can't view your timeline on your external monitor, there are a few things to try:
1) Make sure that the camera/deck is connected and powered on BEFORE you open FCP.
2) In the Final Cut Pro menu select AUDIO/VIDEO Preferences and make sure your signal is being sent out thru Firewire DV.
3) Go to the menu and select VIEW>EXTERNAL>ALL FRAMES.
4) Click in the % box above the image and select FIT TO WINDOW.
5) Go to VIEW->refresh A/V devices
6) Make sure the Log & Capture window is closed
If you want it to play in both the canvas and the external monitor you need to go to the FINAL CUT PRO menu and select AUDIO/VIDIO settings and make sure MIRROR ON DESKTOP is selected under the PLAYBACK OUTPUT section
Shane

How to get better resolution on Blu-ray (1080/60i)

I'm experimenting with my new AG-AC160A camcorder and have been shooting youth hockey games in AVCHD mode, 1080/60i, 1/120 shutter, manual gain and white balance set appropriately, and florescent scene file setting due to lighting in rink. I have PP CS5 and am disappointed with the relative lack of HD-crispness when the Blu-ray output is played on my HD LED set. I used the above settings based on recommendations I saw in the forum somewhere. Any suggestions on what I can try differently? Thank you.

To elaborate on Ann's great advice, the Sequence preset you should be using is AVCHD 1080i30 (60i).
A good way to start out with the correct sequence is to import your clips and then drag one onto the "New Item" icon at lower right of Project Bin. This will create a new sequence to match the source material automatically. As Ann mentioned, you have a non-HD preview format, so if you rendered the timeline to green, and checked "Use Previews" on the final export, then your Blu-ray could have "SD quality" footage in it!!
Curious why the 1/120 shutter, hoping to get better action motion?
If you have a current timeline using the incorrect settings, go ahead and add a NEW Sequence with correct settings, open original sequence and "Select All" which is CRTL + A, then CTRL + C to Copy. Then go to the proper AVCHD sequence and Ctrl + V to Paste entire contents. You will now have the edited sequence moved into correct sequence settings. Now use Export and in AME choose "H.264 Blu-ray" and choose the 1080i preset and export, then use results in Encore. The Blu-ray should look excellent when done correctly.
When exporting from AME, do NOT check the box for "Use Previews", as you want to encode direct from original source and skip any intermediate render clips.
Thanks
Jeff Pulera
Safe Harbor Computers

White screen issue with DVC Pro HD

I have a G5, have Final Cut HD and have upgraded to QT 7 Pro. I am trying to open an HD file I shot last year, which was edited on another system. When I try to open the clip, it is a white screen with audio. The movie info is as follows.
DVCPRO HD (720p60), 1280 x 720, Millions
16-bit Integer (Big Endian), Stereo, 48.000 kHz
Any ideas on why it is not playing? Thanks!
John M

ok... i just got this on mine. yesterday i was just getting ready to log subclips from fcp5, and when i opened the project file, i noticed that all my subclips i created and orignal clip where all red / out. so i closed fcp5 and went to the location of the file. i double clicked it, and behold, white screen, audio only.. so i had to completely redo the convertion of the orginal file.
next day
I was looking for a subclip that i had already extracted from the main file, and when i double clicked it showed the video. after that closed the window, and someone asked me to reopen the quicktime file again, i double clicked it, and all of a sudden the video was white, and only audio.
ive spent about 4 to 5 hours researching with someone else on this issue and have yet to find anything such as a fix, or work around, but my video keeps disappearing which is disturbing. from what we have come down to the issue is deals within quicktime are below...
we believe that quicktime is somehow changing the codecs DVC PRO and changing it to "Integer (Big Endian), Timecode, Video.." that is what it says.. and comepletely removing the codec for the video, and deleting the video footage, but keeping the audio in place perfectly. now, we also used metadatahootenanny to inspect a copy of the file and low and behold severe corrupt of the meta data in the quicktime file. the issue be with quicktime interaction with storage, or a bug quicktime behalf. we need to find a solution to this issue. we are currently in contact with apple tech support and hopefully we will be posting a answer soon.

35mm, DigiBeta or DVC Pro HD (1080/60i)???

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