Canon HV20 and HDV footage

Hello All,
I recently purchased a Canon HV20, but have only recorded and edited in SD DV.
Today I was reading a clip on the internet that gave me a bit of a surprised. Here is a part of the clip,
[This article was first published in the Sept/Oct, 2007, issue of
Larry's Final Cut Pro Newsletter.]
First, Allan Tépper writes:
I am writing to offer help for Justin Ascott's 24p workflow with the Canon HV20. The 24p recording of the Canon HV20 has much in common with the 24p recording of the Sony HVR-V1.
To answer Justin Ascott specifically: The FCP Easy Setup called HDV-1080/24p will not work with 24p footage from the HV20 or the Sony V1. "
Has anyone here had any experience with FCE and capturing HDV footage from a Canon HV20? Is the statement above true?
Thanks for your help.
Mike

I wonder why my PAL one doesn't do 24p?
Normal HDV will work perfectly with FCE except it will have to be converted into the Apple Intermediate Codec.
The Easy Setup is "HDV-Apple Intermediate Codec 1080i60".
I don't think shooting in HDV and then converting to SD DV will look any better than normal SD but you will have the HDV master tape which can be used to produce Blu-ray DVDs at a later date when they become cheaper and more popular.
An hour of AIC will take around 40 GB of HD space.
As with everything it is worth doing quick tests involving something unimportant to determine which workflow suits you. Use DVD-RWs when testing to avoid waste.
Remember that you can export your HDV edited project back to tape in your camera and connect it to an HD TV for high definition playback.
I am not too keen on this because of the extra wear it puts on the camera and tape.
Message was edited by: Ian R. Brown

Similar Messages

  • Canon HV20 24P HDV workflow, Some things with FCP and Quicktime are ODD.

    Canon HV20, 24P, HDV, CMOS sensor...
    First, I do hope and pray that the FCP dudes are making this work native at HDV 24p -- great!
    But until then, there's a workflow (see below) and a real oddity I can't figure out, and if anyone has any thoughts about it that would be great.
    Sometimes, the image captured/shown/exported is a lighter picture, and other capture/playing/export methods are darker picture. Example: the captured 60i from Final Cut Pro has a light gamma picture when viewed in Quicktime Player.
    But playback in Final Cut Pro appears darker, and rich. But then exporting it out turns it light again, but export out to a MPEG-2 DVD is darker again? ODD.
    Can anyone explain the FCP capture size of 1888 x 1062?
    Anyhow, here is some workflow success that I had.
    Capturing in Final Cut Pro using the HDV 1080/60i setting with HDV firewire basic NDF. But 60i is evil. So that's not enough. Got to get it to 24P,since that allows 20% more bandwidth, space, faster renders, and DVD players can play it.
    Transcoding to a regular editing codec before converting to 24P is required. I found that MPEG Streamclip would create a wierd, jagged edges on small moving figures with high contrast, no matter what the settings, so I refuse to use it to export the footage.
    So instead, FCP has an additional capture option of "Apple Intermediate Codec" or something like that, which transcribes it on the fly to AIC. I always stayed away from AIC like the plague, but they must have spent some time with it because it's nearly identical to the HDV original.
    Next, open up in Quicktime Player, and start the clip on that second P frame. Sounds odd, I know. Goto the first interlaced frame, and back up two frames. Mark the "I", and then move that Out marker to the end, and then Trim the clip to the selection. Do that with all the clips, and then you can batch 24P them all.
    If you don't want to find that one frame each time, here are the other settings:
    First, open up the clip inside cinema tools, and then select Rev. Telecine button.
    Find out which of these your clip is doing at the very beginning:
    p-p-i-i-p - aa
    p-i-i-p-p - bb
    i-p-p-p-i - bc
    p-p-p-i-i - cd
    i-i-p-p-p - this is no good. must remove at least one frame from the beginning of source file
    i = interlaced frame
    p = progressive frame
    all settings use the F1-F2, style one, standard upper/lower

    Sometimes, the image captured/shown/exported is a lighter picture, and other capture/playing/export methods are darker picture. Example: the captured 60i from Final Cut Pro has a light gamma picture when viewed in Quicktime Player.
    But playback in Final Cut Pro appears darker, and rich. But then exporting it out turns it light again, but export out to a MPEG-2 DVD is darker again? ODD.
    This is known. This happens with ANY footage you look at in FCP and QT player. QT lightens the gamma of the footage. Why? Something to do with adjusting the image for computer monitors.
    Shane

  • IMovie: I uploaded HDV video from a Canon HV20 and then to YouTube. The video and the audio are out of sync. The audio seems to precede the video by a tiny bit which is disconcerting. Any recommendations about how to correct this? Thank you.

    I downloaded video via iMovie from my Canon HV20. The video was in HDV. I then published it to YouTube and Vimeo and in both cases, the audio is out of sync: the video precedes the audio by a fraction of a second. The original is fine as viewed in the camera.
    Any suggestions as to why and how to correct it?
    Thank you,
    David

    Anything here help?
    iMovie: Improving audio and video synchronization
    http://support.apple.com/kb/TA25603?viewlocale=en_US

  • Final Cut Studio 2 Impressions with HV20 and HDV Impressions

    Ok, so I got FCS 2 up and running Monday evening. I took work off yesterday to watch all the tutorials and to play with all the new software. I got a good grip of Motion 3, FCP6 and Soundtrack. I didn't bother with DVD Studio Pro, and Color is confusing as all get out. I'll be focusing more time on Color this weekend since I hear I should probably read the whole manual.
    The camera I'm currently using is a Canon HV20 which is an HDV camera. I've found that the cadence issue is still not resolved (not that Apple said they would, but in case anyone was wondering, it's all the same) and the drop frame issue during capture, especially batch capture, ALSO hasn't been resolved (again, not that Apple said they would).
    If you're upgrading from FCP 5 to 6 thinking your HDV issues or HV20 issues will go away, you're mistaken. It's all exactly the same. Batch capture can be finicky and the cadence issue still needs you to either import through AIC (Apple Intermediate Codec) OR you have to batch capture then export all your clips as AIC so you can remove each clip's interlaced frames. The resulting clips will be true 24p, and they look awesome for such a cheap camera. However, you have to figure out which process works best. I like logging and capturing if for no other reason just to be organized. However, with an HV20, importing the whole tape through AIC, removing the interlaced frames and then, within Final Cut, cutting up the scenes you need might actually take less time. It's up to you.
    The silver lining comes in with the new software: Color. AIC tends to wash the image out just SLIGHTLY. It's not too noticeable, but it's definitely there. With Color, you can take your AIC'ed clips and tweak them to look as good (or better depending on how good you are) as the image would've looked had it come in via HDV codec. Of course, there's technicalities and there's still some quality loss no matter what, but Color is superbly powerful as my friend showed me.
    ProRes codec isn't very good, IMHO. I imported some clips on my buddy's computer as ProRes and I even made some of my HDV clips at home with ProRes, and there seems to be a lot of artifacts especially around any movement in the scene. I actually don't like the codec at all. Maybe it's just me.
    Otherwise, I really love FCP 6. The multi-codec timeline is pretty freakin fun, and I love some new interactions with Motion. Time tweaking is more approachable this time around through Motion AND Final Cut. It's fun to play with.
    I found that smooth cam's a bit annoying. Even on an original imported clip that was only a minute long, the subclip that was only 20 seconds, took 10 minutes to analyze. I understand that it's analyzing the full clip, but Apple should figure out a way to have it simply analyze just the subclip in the timeline. Also, you have to know when to use smoothcam. There were a few tests I ran, and some resulted in BIZARRE movement and others the thing worked nicely after some tweaking. So be aware it's not something you can always fall back on.
    That's all I can think of right off the bat. If you have questions or more comments, please post

    I've found that the cadence issue
    is still not resolved
    Well, I'm not a very technical person, so I'll explain this the best I can. The HV20 can record at 1080/24p. However, no matter what, it'll always record to tape in 60i, but it does so by recording 3 progressive frames and 2 interlaced frames. I'm not sure why, but that's how they figured how to do it. Which means, when you import it to the computer, it doesn't recognize your 24p as 24p, it sees it as 60i.
    So now you have a few extra steps you have to accomplish. In order to do a reverse telecine on the sequence, you have to use Cinema Tools so you can take out the interlace frames and leave the progressive frames leaving you a true 24p sequence. But Cinema Tools can't do that to a strictly HDV encoded sequence, so you either have to import it from your camera using AIC (Apple Intermediate Codec) or via HDV 60i which you then have to take those clips and turn them into AIC clips. When you capture using AIC, you can't batch capture, you have to capture chunks at a time, but when you capture using HDV you CAN batch capture (although it has some issues), but you then have to make those clips into AIC anyway.
    Then you'd take the AIC clips, put them into Cinema Tools, figure out the Cadence of the clips (I(Interlaced)I_P(Progressive)_PP) etc and choose a reverse telecine setting which would then remove the interlace frames. This takes more time than one would like, and I was hoping FCP 6 might have dealt with that issue.
    the drop frame issue during capture,
    especially batch capture, ALSO hasn't been resolved
    HDV cameras in general have problems in FCP it seems. When you try to batch capture, FCP says it can't find the right timecode even though there's no timecode breaks or anything. Frankly, when it tells you it can't find the right timecode, you simply tell it to look again and, oops, there's the right timecode. Not sure which end has the problem, but it's annoying.
    This will help you with the Cinema Tools Cadence settings:
    http://file.meyersproduction.com/hv20/reverse%20telecine%20READ%20ME.rtf
    And this is another thread that might be useful to you:
    http://discussions.apple.com/thread.jspa?messageID=4297639&#4297639

  • Canon HV20 and FCPX

    I'm still using the Canon HV20 camcorder and Final Cut Pro 6. Capturing footage from the HV20 requires a slighly compllicated process of capturing the video in FCP6 and then converting it in Compressor in order to edit it on a ProRes timeline.
    Does any one have any experience using an HV20 camcording with Final Cut Pro X? Could you tell me what your workflow has been? Thanks.
    -Andrew Bertke
    Minneapolis

    Download MPEG Streamclip and use it to convert your MPEG-2 footage to ProRes 422.
    MPEG Streamclip allows you to set in and out points and only convert the footage you want for editing, but it's wise to keep the originals (just in case).
    Once your footage is transcoded (with minimal re-compression) it will be a breeze to edit and colour correct.
    Andy

  • Error message when adding a filter to DV and HDV footage

    Hi,
    I do not understand why I am getting an error message saying,
    " The effect 'refraction, twirl, insect eye' failed to render: Your Hardware cannot render at the requested size and depth"
    Can some help me out?
    I have a first generation Mac Pro 2..66 with 8gb of ram and the Ati radeon and Nvidia graffics card. This is a high end computer, why can't it render a video filter like refraction and son on?
    I tried re-installing FCP and erasing those files in the preferences folder, but still not luck.
    To make matters worse the render works on my MacBook Pro (1st gen.) and not on the Mac Pro quad core?
    There must be something going on in my settings, is anybody else having this problem?
    The footage I am working with are 2 formats, one is DV Ntsc shot with a DVX 100 and the other one I was working with HDV footage.
    Why am I not able to render with the hardware power of this monster computer.
    Thanks for you help,
    Alessandro

    Hi Varkgirl,
    That would be great but I don't really know where to start with this. Can you help?
    Sorry for the delay in responding but I run my own business as well as doing my wife's website.
    My email address is [email protected] if you could send me your advice that way if it's ok with you.
    Thanks.
    Philip

  • Mixing DSLR and HDV Footage

    I did a short search and did not find anything. Also, I know this is a huge topic - so what I really am looking formis direction.  As the title says, I want to mix DSLR footage with HDV footage.  Whe should I start?

    Just edit in HD(V) and export to whatever you want: BluRay, DVD, web.

  • Canon 60D and HDV workflow

    Looking for suggestions on this workflow...any better way to do it? I shoot and edit primarily in HDV, with a little added footage from a Canon 60D, resulting in two different video formats. I don't want to mix them in one timeline, requiring frequent renders -- so my solution for now is to ingest the 60D as prores 422, edit it in a prores timeline, then send to Compressor and downconvert to HDV 60i, which I can then bring into my main HDV project and easily mix. I have been happy editing in HDV despite frequent urgings in this forum to ingest as prores. So this is working but I'm still wondering is this the best route for combining these two formats. BTW 60D video looks good, except when you move the camera, so best shot locked down. Better than FX7 in low light. Nice machine, unobtrusive, good for candids.

    Unless very little of the media is from the 60D and/or you have to output back to tape you're better off doing it the other way around. Gets you out of the whole world of conforming an MPEG codec, which is very weak codec for compositing.

  • Can I Edit SD and HDV footage at the same time in CS4?

    I have a Sony PD 150 camcorder and I'm looking at buying a Sony HDR-HC# HDV 1080i camcorder to use as a second camera on video shoots.  Can I edit footage from both cameras on the same timeline in CS4?    I'm using a PC, running Windows XP Home Edition, Version 2002 with an Intel (R) Pentium (R) 2.80 GB processor with 2.5 GB of RAM.  Thanks!
    Lewis B.

    Do you already have CS4 ?
    CS5 is days away.  9 Days for the first look.
    I have a Windows XP 2005 with 3.4GHz with 4GB of ram and it cant handle HDV for HD video.
    I have a Sony HVR Z1U and use the in camera down-rez and edit in SD just fine.
    Like said before you really need a new computer to edit the HDV but if your going to DVD then your only using SD anyway.
    But to answer you question you can mix formats with CS4.
    As you can see my system ranks second from last on Bills Benchmark tests.
    http://ppbm4.com/Benchmark.html
    Take the test to see how your system stacks up.
    ENjoy:  Glenn

  • How edit DVCPro HD and HDV footage in the same multi-clip project?

    Dear All
    I am to edit a music video material shot with two cameras. I received the footage as .mov files, but one file is a DVCPro HD 1080i50 codec and the other is a HDV 1080i50 codec. - It seems the music concert was recorded on two different cameras (I guess one was Panasonic the other Sony).
    How can I edit the music video using multi-clip editing? - I guess I will have to reconvert one of the footage-format to match the other format. If so, which conversion assures the best quality: from DVCPro HD to HDV or vice versa?
    Or should I ask for the original tapes and then import all as a HDV codec (is that possible with the DVCPro?)?
    I have never worked with the DVCPro codec before. So any links further explanations and tutorials are appreciated.
    Many thanks,
    Hynek

    Dear Tom
    Thank you for the tip. I converted the DVCPro footage into a HDV file and it looks good. The new file is only 9BG compared to the DVCPro file of 39GB. Quite surprising that such a down-conversion still results in a rather good quality.
    Hynek

  • Mixing anamorphic SD and HDV footage--best workflow?

    I am about to start an edit of a multicam shoot with mixed HDV and 16x9 Panasonic anamorphic SD footage (from DVX 100 series cams). Any suggestions on best workflow would be useful.
    I would like to use the multicam editing feature, which I have used before, but never with mixed footage.
    Final delivery will be SD, though I wouldn't mind staying in HD for the edit/CC/EFX.

    If you're doing multicam work, I would recommend converting all your footage to a single format before getting started-- generally, you want to convert the lower quality footage to the format of the higher, so in this case, convert all your SD footage to HDV. Alternatively, you could covert everything to an HD ProRes setting (this would be my route).

  • Canon HV20 and Timecode for FCE

    Hi,
    I noticed in the FCE manual it states: Important: Some HDV camcorders do not record timecode, so you won’t be able to precisely recapture any clips if you delete the corresponding media files."
    Does the HV20 record a FCE compatible timecode in both HDV and DV modes? (I searched the forum and didn't find this issue).
    Thanks,
    Mace

    You might want to google that. Or ask on the production forum. Or a DV/HDV forum. Or look in the camera's manual. This forum probably has a small base of HV20 users.
    The manual is somewhat misleading. FCE converts HDV to the Apple Intermediate Codec when it captures and the timecode is lost in the conversion process.

  • "Slow Motion" Audio - Canon HV20 and IMovie 6.03

    Hi
    Just tried the above combination for the first time. Footage imports fine and plays normally in the clip viewer. However, if I play the same clip in full screen mode, my wife's voice drops an octave! Exactly the same happens when exporting to Quicktime. The whole sounds drops in pitch and women sound like men, men like Barry White. The 'speed' is OK and plays in sync with the video - just at a lower pitch.
    This seems to have been mentioned early last year but no solutions seemed to have been suggested bar editing the pitch for each clip.
    Any solutions/explanations/cures gratefully received.
    Thanks
    Matt

    Only as I say above. Snipping a second off the start of a clip seems to bring the sound back to normal again. No idea what'shappening but it seems to work. Tried importing on my iMac G5 with an earlier version of iMovie (5.something) and there are no problems. So it's either something in 6.03 or something weird the MacBook Pro is doing but everything points to a software glitch. iMac G5 also imports in real time which I didn't expect. Only has 1gb of RAM too.

  • Canon HV20 imports footage as a single clip

    I have a Canon HV20 and am trying to import my footage as separate clips based on when I pressed the record / pause button. Currently, when I import the footage automatically the footage is imported as a single clip and therefore one large .MOV file. From what I've read and heard, it's supposed to create a new clip for every start / stop on the tape. Does anyone have a fix for this?

    I've only tried it on Auto. I'll have to give it a show in Manual. Is this to say you have to manually start and stop the import to create different clips? or is putting it in Manual mode a way to get it to recognize the timecode breaks?
    Also, I'm capturing the full frame of 1920 x 1080 (if that helps).
    Thanks.

  • Best "Capture" workflow for projects mixing HDV tape and XDCAM footage

    I'm trying to determine the best workflow for projects that combine XDCAM and HDV footage.
    I'd obviously do the editing in a project designed for XDCAM, as that's the higher quality footage,
    and render the HDV clips in the XDCAM timeline...ending up with an XDCAM end product.
    I'd use SONY'S XDCAM TRANSFER to get the clips into FCP.
    My question concerns capturing the HDV footage in this scenario. I've never been able to get
    the Log and Capture feature for HDV footage to work, unless I've created an HDV project and am capturing into that HDV project.
    So, generally, I create an HDV project, open the log and capture utility which is now set to capture HDV, and then capture the footage. I then close that project and create a new project, designed for XDCAM footage. I use XDCAM Transfer to get the XDCAM footage into the project, and I import
    the previously captured HDV footage into that browser and start editing, rendering the HDV in the XDCAM timeline.
    My question...do I really have to open, what is essentially a "fake" HDV project just to capture that HDV footage? You don't seem to have the option of capturing HDV footage (out of a camera or HDV tape deck) directly into an XDCAM project. If I try to change the capture or audio video settings of the XDCAM project to HDV, you get messages saying you can't do it.
    Is there something I'm missing or a more streamlined way of doing this?
    Thanks in advance for any input.

    No need to jump through these hoops. Just set yourself up with a universal Easy Setup that will handle both. Choose your regular XDCAM HD Easy Setup then open the Audio / Video Settings window and change the Capture Preset to "HDV" and the Device Control Preset to "HDV Firewire" ... then click the "Create Easy Setup" button and save it for recall whenever needed.
    Regarding the overall workflow, I'd seriously question the idea of creating XDCAM HD masters. No real benefit to that unless you need to export to XDCAM HD. Much better would be export your final master as Apple ProRes 422.
    Best
    Andy

Maybe you are looking for