Broadcast HD 1080i60 vs XDCAM EX 1080i60

I was under the impression that the new project presets in Motion were just that-- presets to get your resolution, framerate, etc to match your source. In other words, when you choose XDCAM or HDV, you're not actually +working in+ that codec.
But looking through the presets, I see that XDCAM EX 1080i60 and Broadcast HD 1080i60 both contain exactly the same parameters. Is my impression wrong?

Thanks for the speedy reply, Mark. I use XDCAM EX presets in FCP. If I create a preset of HD 1920x1080 square pixels 30p (because that's the format I'm using in the camera) with the sequence compressor as XDCAM EX HQ 1080 30p Final Cut always wants to change the sequence setting to HDTV 1080i. I'm assuming this has something to do with 1080 psf (progressive segmented frame) which is what the EX cameras shoot.
And sorry about posting this FCP thingy in the Motion forum. I was originally doing a search and came across this post and didn't realize I had "crossed over" to the motion forum. This is the part where you say: "hey buddy, this isn't the FCP forum. Take a hike!"

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Black Magic External monitoring and Canvas Presets: Motion3

I have a Black magic card on my 3.0 quad intel. I am creating s Text commercial in Motion3. I have mixed the audio and imported that into Motion3. So, I am set up to create the entire project's visuals in Motion3.
My canvas is set to Broadcast HD 1080i60 because i didn't see 1080p60 and for this job i wanted to use something that is default.
I set the BM Intensity to to BM HD 1080i 59.94 and the HDTV is set to 1060i60 (via HDMI).
I get a tile in the middle of the lcd. Like 720p on a 1080p screen.
To get the best monitoring in my config how would i set up Motion3 , The BM Intensity , and maybe the HDTV also?
I am trying to avoid the jagged edges on the text and photo-wrinkles from down-scaling.
PS: i started in motion3 as DVCpro50 - 720p30.

What is the correct set up so that i can make PP default to sending the stream to the external on every project?
There is no way to set this on a project basis; it's per sequence. You must use one of the Blackmagic sequence presets to enable external monitoring from a sequence.
Also who do i set premier to dual screen editing?
I'm not positive, but this should be possible with the BMD card. However, setting up two desktop monitors is an OS setting, not necessarily a Premiere Pro setting. As long as you can expand your desktop over two monitors, you should be able to set up Premiere Pro and its various frames and panels to utilize both monitors. This is independent of full-screen external monitoring through the BMD.
In premier preferences under the media tab i see the intermediate media timebase ... Does this effect how Premier is handling my source footage? If not what does the window effect?
That dictates (or is supposed to, anyway) how imported media that does not have a specific timebase/frame rate should be handled on import. As far as I'm aware, this only affects image sequences--I've never seen it have any influence on an imported video or audio file. Even if it's set wrong when you import an image sequence, you can reinterpret the image sequence once it's in your project. Simply right-click it and select Modify > Interpret Footage. If you don't use image sequences, I think you can safely ignore this setting.

Clips look like speed increased after rendering?

Weird! I have a few different 30 minute training videos, and after applying the 3-way color corrector I rendered. But, now when I watch they look like the speed of the footage has been increased somehow??
The footage I have was shot in 1080p 30fps. I dumbly began editing in h.264 so that's what it is, and there are some alpha channel simple animations done in Motion as overlays to the footage. I believe the Motion settings are Broadcast HD 1080i60.
Any ideas?
Thanks!

editing in h264 in fcp is problematic at best. Although it may work, eventually you'll regret it. I'd seriously advise converting all your footage to prores using compressor. You can reconnect to all your existing work by doing a MM to the correct format with media offline. If you make sure that your converted files have the same file names, reconnecting should be as simple as pointing to the correct folder. I'd do a test on one file to make sure the workflow is correct.

Project Presets

I'm using Apple ProRes 1920x1080, 30fps in Final Cut. That preset isn't there in Motion. How do I set motion to that size and frame rate?
Thanks!!!
Bob Couter

Sorry, please disregard. I just used File > Import as Project... When I do a Command-J to see the project properties it shows me a preset of "Broadcast HD 1080i60"

XDCAM HD422 1080i60 CBR

XDCAM HD422 1080i/50
From that post i was wondering how can you do XDCAM HD422 1080i60 CBR? is not in the dropdown menu.
PC user with premiere pro CC

Looking how to achieve the following.
HD (Closed Captioned Files Must Have An .MXF Wrapper)
Codec: XDCAM HD422 1080i60 CBR
Video Bit Rate: 50 Mbits/s
Frame Rate: 29.97
Dropframe: Yes
Aspect Ratio: 16:9
Width/Height: 1920x1080
Chroma: 4:2:2
Interlacing: 1080i (Upper/top field first)
1080p (Progressive)
Audio Type: PCM Audio/SMPTE 302M
Audio Sample Rate: 48kHz
Audio Bit Depth: 16, 24
Do NOT send separate .SCC files, captions MUST be embedded within file.

Best AVI export settings for a XDCAM EX 1080i60 35VBR FCP timeline

I've editted a couple of XDCAM EX 1080i60 35VBR timelines in Final Cut Pro. The dimensions of the source footage and timeline sequence settings are 1920 x 1080 XDCAM EX 1080i60 35VBR.
They will be used at a large conference center and the client has asked me to delivery HD AVI files.
So far, everytime I export an AVI file from either the FCP timelines, or HD Quicktime XDCAM EX 1080i60 35VBR composites that I've made from the timeline, the AVI file that results is either alot smaller than the 1920 x 1080 quicktime file and/or pixelated to some degree, and not as clean as the HD quicktime.
I have very little experience with AVI and was hoping someone could suggest appropriate export settings. As I said, the client only indicated they want AVI files, and that their equipment can display HD files.
So I'm trying to maintain the quality of the original and editted footage.
I'd like to work with the tools and export options available within FCP7 (FCS3) and quicktime, as opposed to having to purchase some AVI transcoder, but I guess I'd be open to that if I had to otherwise take a huge quality hit.
Thank you in advance for any assistance.

I'd like to work with the tools and export options available within FCP7 (FCS3) and quicktime, as opposed to having to purchase some AVI transcoder
As far as I know there are no tools/export options within FCP7 (FCS3) and/or Quicktime to do what you probably want to do (compressed HD AVI export). But if a fully uncompressed 1920x1080 AVI export is ok for you / your client then you can use Export > Quicktime Conversion, set the Format to AVI and change the Options >> Video >> Settings >> Compression type to "None" ... bear in mind that this will produce some pretty big exports file size wise (about 6-7 GB per minute).
Or instead, you can download and use MPEG Streamclip. Open your HD Quicktime XDCAM EX 1080i60 35VBR composites into MPEG Streamclip and choose File > Export to AVI ... then in the AVI Exporter window you can +choose the codec+ you need and press the "Make AVI" button (leave the settings at default, especially Frame Size which should be "unscaled"). Note that AVI is just a wrapper, not a codec. Make sure you chose an HD capable codec that your client can handle (it's unlikely that they will be able to play back any Apple XDCAM EX variant, or indeed any codec that starts with "Apple").
Or just send them an unscaled H264 test file and see how they get on with that (and you can export H264 from FCP, Compressor, Quicktime and/or MPEG Streamclip). It's scalable (handles any resolution including HD) and is pretty much universally supported delivery codec. I'd expect your client would be happy to accept it if you explain that the format will offer the quality the need.
However you proceed I'd strongly recommend you send the client a few test encodes first to have them confirm that they can indeed read / handle your encodes correctly.
Hope it helps
Andy

Exporting XDCAM EX 1080i60 to another format = dark picture

Material was shot in XDCAM EX 1080i60. I noticed when I made screen caps for the client as .tifs that the image was much darker than my original footage. I tried to then export video clips, I tried exporting Pro Res HQ with and without gamma adjustment and tried exporting it out as it's native codec XDCAM EX,...all resulted in crunched blacks. I will need to convert this at some pint in the future and need to know how best to do it and maintain it's luminance.

Try exporting as quicktime movie with current settings, see what it looks like.
DM

XDCAM 1080i60 with Chroma rendering 30 minute episode take more than 17 hours is it usually?

XDCAM 1080i60 format with Chroma rendering 30 minute episode take more than 17 hours is it usually?

All depends on the system...
If by "Chroma rendering" you mean chroma key rendering then it seems quite slow (but I cut on a hopped up
8X 3.2GHz Mac Pro with a lot of everything, so slow is relative.)
If you mean something like a Magic Bullet Colorista "treatment", that's another story. I've seen that increase renders by as much as 25X the duration, i.e., a 30 minute show might take 12-15 hours on a slow machine.

720p24 to 1080i60 - best workflow?

Hello all - long time no type...
I have a long-form program that has been edited in DVCPRO HD 720p24 (23.98). I am getting ready to master this thing to D5. I have access to a Blackmagic Multibridge Eclipse, as well as a Decklink Extreme HD, and an Io HD. The deck is the Panasonic AJ-HD3700A.
I have heard that the most common standard for broadcast HD is 1080i60 HDCAM. My question is whether it's better to master in the program's native format at 720p24, or to try and upconvert to 1080i60 as I output. Some more specific questions:
If outputting to 720p24, is it better to use 24pN?
If upconverting at output, my thought is that the multibridge eclipse will be the most versatile and robust device for this, but how does the pulldown insertion get handled in this kind of workflow?
If I output to 720p24 and we want a 1080i60 dub made later, is this the kind of thing that can be done simply at a dub house without having to re-output from FCP?
If I master to Panasonic D5, will I still need a dub made if a station needs HDCAM?
Any expertise would be appreciated. Thanks.

You have the I/O HD...simply cross convert 720p to 1080i when you output. That device can do that...I believe.
If outputting to 720p24, is it better to use 24pN?
Doesn't matter. What are your SEQUENCE settings. That is what you will be outputting. If your sequence settings are 23.98, then that is what you will be outputting.
If upconverting at output, my thought is that the multibridge eclipse will be the most versatile and robust device for this, but how does the pulldown insertion get handled in this kind of workflow?
Sorry, the Eclipse does not cross convert 720p to 1080i...not even the Eclipse. This is why I stick with AJA Konas. I almost bought the Multibridge Pro until I learned this fact.
If I output to 720p24 and we want a 1080i60 dub made later, is this the kind of thing that can be done simply at a dub house without having to re-output from FCP?
Yes, but why do that? Just cross convert as you output. One tape...done. But if you do this, bear in mind that you need to find a place that has a Terranex to do this cross convert.
If I master to Panasonic D5, will I still need a dub made if a station needs HDCAM?
Of course. If you hand them a tape they can't air they will smack you on the head with the tape. You must deliver what the network requires.
Are you in the LA area? Contact Terry Curren at Alpha Dog in Burbank. Their "digital service station" is designed to take a file and output it to tape. And they have the Kona 3 that can do the cross convert....and handle the pulldown.
Shane

Converting h.264 footage for my 1080i60 timeline...

Hi all...
I've got some footage from a GoPro Hero cam (H.264, 1920x1080) that I would like to add to my current sequence (HDV-1080i60) which is set up for footage my Canon XHA1S (captured as HDV Apple ProRes 422). The end result for all of this footage is for broadcast in HD on TV...
I'm using FCP 7. I used MPEG Streamclip to convert the H.264 footage, but I was unsure about a few of the settings for doing so:
1: I chose the option "Export to QT" & for the Compression I chose 'Apple ProRes 422' assuming this would be the best option since my other footage uses the same. Someone please correct me here if that's not so...
2: The Frame Rate is blank & I'm wondering if I should leave it blank or adjust it to 29.97, again to match footage from my Canon.
3. Frame Size. I'm really at a loss here. First I was thinking I should adjust it to 1440x1080 to match the Canon footage, but then I'm worried about the quality of the footage & wonder if it's even necessary to change it from 1920x1080? AND then, if I do leave it @ 1920x1080, I have 3 options: '16:9', 'unscaled', or 'HDTV 1080i'.
4: (and last, I hope) "Interlaced Scaling" is checked & "Deinterlace Video" is unchecked. I'm not sure if this is Progressive or Interlaced footage. Anyone know how to find out & what the correct settings for those are?
THANK YOU : )

Funny that you sent me those links, I actually read them both a few hours ago & that was what led me to use Streamclip for that footage in the first place. Certainly makes me feel better to have these settings confirmed by the original author (just realized that)! Small world : )
And in regards to the Reinterlace Chroma, since this footage came out nicely, I'm guessing the others will too since they are all from the same source (probably similar to your cam for the motorcycles). But what exactly does that setting do?

1080i60 vs 1080p30

I own an HF10 AVCHD Camera that is capable of both 1080i60 recording and 1080p30 recording. I have always used the p30 mode simply because my television does a terrible job deinterlacing 1080i content, regardless of the source (in this case a AVCHD DVD from a PS3. However, when I burn a AVCHD disc or Blu-ray disc, it encodes my 1080p30 material as 1080i60 material because it must - AVCHD/Blu-ray do not support 1080p30 material.
However, when I play this material back on my TV at 1080i it looks terrible and I am forced to switch to 720p mode (thus letting the PS3 do the deinterlacing). My question is this: would I be better off using 1080i60 mode? Is telling the TV something is interlaced when really its not only confusing it and cause it to do an even poorer job "deinterlacing" something that it would if it was really interlaced?

Thanks for the speedy reply, Mark. I use XDCAM EX presets in FCP. If I create a preset of HD 1920x1080 square pixels 30p (because that's the format I'm using in the camera) with the sequence compressor as XDCAM EX HQ 1080 30p Final Cut always wants to change the sequence setting to HDTV 1080i. I'm assuming this has something to do with 1080 psf (progressive segmented frame) which is what the EX cameras shoot.
And sorry about posting this FCP thingy in the Motion forum. I was originally doing a search and came across this post and didn't realize I had "crossed over" to the motion forum. This is the part where you say: "hey buddy, this isn't the FCP forum. Take a hike!"

Looking for a better 1080i60 to 720p60 workflow??

Hey guys,
Need some good advice here.
Right now the material comes in to the network on hdcam at 1080i60
I digitize this footage at 1080i60 apple prores HQ- where the frame rate is 29.97
I then edit my promo using the 1080i (1080i60 sequence) setting.
here's my problem-->
the network wants these promo's at 720p59.94 for HD air.
What I've been doing is using quicktime comversion to make 720p60 proresHQ QT files
that I then bring to the network and layoff to dvcproHD.
compression type--apple prores HQ
frame rate--59.94 (no check next to interlaced)
size--1280x720HD (no check next to deinterlace source video)
This has worked up until I moved to FCP7.
When I export 1080i60 some of my _speed ramps_ stutter.
And this looks even worse when converted to 720p60
My question is....Am I doing this the right way?
Should I
1. keep doing what I've been doing
2. convert all the footage to 720p60 first
3. there's a better way and you guys know it!!
sorry its so long but i wanted to make sure I had all the details right.
Thanks
J-P

Hi,
you could be using a combination of Mobile Accounts (for the settings of the ibook) and rsync (which is installed by default on 10.3 and 10.4), check man rsync for more info.
regards.
Dimi.

Print to video - HDV 1080i60 to Sony HDR-HC1 camera

Like many before, am struggling with print to video of HDV material captured as HDV 1080i60 to a Sony HDR-HC1 camera. Just can't figure out what settings to use, only get the darn blue screen. Have tried several settings, but no success. Does anyone know the trick? Thanks!

Tim Kuhlman-
Have you tested the camera with non-HDV just to make sure the camera works?
Luck-
-DaddyPaycheck

Exporting from Intermediate Codec 1080i60

Working in the HD Apple Intermediate Codec 1080i60.
Want to export certain frames as stills, but aspec ratio doesn't stay 16:9 (when using quicktime conversion - is there a better way?).
Also, same thing happens when trying to open a clip or sequence in Motion.
When you bring either the still image, or the motion project back to FCP, it returns to the proper aspect ratio.

This link might help...
http://docs.info.apple.com/article.html?artnum=36836
I use custom settings when I export from FCP using QT conversion. I set the size to 1920x1080 and it seems to work.

What easy setup do I use for the Canon A1 1080i60?

What easy setup do I use for the Canon A1 1080i60?

I called tech support and they were no help.
G5 Mac OS X (10.4.9)

Broadcast HD 1080i60 vs XDCAM EX 1080i60

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