Dual Angles - How do I create highest quality output?

Hey all,
     Football coach doing his best to use FCP to edit football videos for this season. I've made some progress, currently I'm at a place where I've twisted things up a little bit and want to be able to get to the optimal output settings for my setup. I have a MacBook teachers laptop, and 2 video cameras, a Sony HDR-CX110 and a Sanyo VPC-WH1 (with an Xacti card), which gives MPEG4 output. I'm looking for optimal settings for the Sony camera, it was working well at first with Log and Transfer, but I've changed the settings more than once and can't remember what the best setting would be, I guess using the Easy Setup options? The Sanyo I guess needs to be converted by MPEG Streamclip, using ProRes 422 setting, which I have some familiarity with since I use it for DVDs. As we are in-season now, I don't have the time/energy to research all this stuff thoroughly enough, and the tech guy at school has been minimally helpful. I'm not coming in totally blind, I have done research the last couple months, but I'm looking for someone to help me cut through the nonsense and get a routine I can get familiar with. What I'm doing is taking video from each camera (2 different angles during the game) and intercutting the 2 angles. What settings should I use to import this footage, and what do I need to be doing to produce output that plays well on Quicktime? I've been able to get an intercut output through trial and error, but the output is sloppy, and this is making life miserable when I have 50 teenagers in a meeting room and I'm trying to rewind and fast forward plays quickly and sharply.
     Even though I'm sure I come across as not having more than a rudimentary understanding of FCP, I can assure you, I know less than you think. I don't have a good understanding of output settings, EasySetup options, or input as far as what HDV is as opposed to Apple Intermediate Codec, etc. I just know the steps I've been told to take, but I don't UNDERSTAND it. I apologize for the rambling, I could use some help. Thanks all for your time,
      Grouch

Thanks Jim. I checked out those tutorials, I'm still swimming a little bit though. Does it make sense to go the multicam sequence route in my circumstances? Right now, the typical work flow for a football game is for each camera operator to start and stop recording after each play to create individual files for each play. For multicam it seems that it would need to have each camera running continuously instead? Not sure battery life would enable that, but perhaps it would. As these are 2 different brands of cameras, and they will be located 75 yards or so apart with different filmers, it's not realistic to have perfect sync. I don't understand timecode that well, will the cameras be able to be synced within FCP if they are both running from start to finish without any pauses? I.e. just find a sync point near the beginning and go from there? We don't use audio for the shoots, does this make that more difficult/impossible?
Separate question, can I still use log and transfer for the Sony cam, or do I need to do something differently (such as using MPeg streamclip instead of log and transfer?) in order to have both cameras imported using ProRes 422? If I use MPeg Streamclip, I don't believe I have the ability to log clips in log and transfer or log and capture, do I have that right? Thanks again for your time,
Grouch

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How to Produce the highest quality picture onto DVD or Blu-Ray

I have recently started looking at new video cameras and software. I will soon purchase FCS. One thing that I cant get a clear answer on is how to produce a high quality DVD / Blu-Ray Disc.
I stumbled upon a cinematographer by the name of Ray Roman. He is producing the kind of wedding videos that I want to produce in the near future. I see that he answered one of his followers by saying he shot the wedding with Cannon 7D DSLR cameras.
Here is a link to the video I am speaking about.
Ps. You need to scroll down a little to see the video.
http://rayromanblog.com/2009/10/stephanie-tims-wedding-in-big-canoe-georgia/
Can anyone tell me if they believe that was shot with a DSLR type camera, and if so what steps do you believe were took to create such a high quality final product.
1. What type of software is needed to produce this?
2. Does it have to be a Blu-Ray disc to hold that clarity?
3. Does FCS support Blu-Ray?
4. If FCS does not support Blu-Ray can I Export the project to Roxio 10 Pro to make the Blu-Ray disc?
If I am totally off in left field Please Please Please let me know your opinion as to the best methods you have found to end up with a high quality product like that.
What I really need to know is
1. What camera will capture the correct info to start with
2. What software will edit it and encode it without losing all that high quality data
3. What way to burn the project to disc to again retain all the clarity, brightness, sharpness etc...
Thanks for you help Ron...

I'm at work so I can't see the video, but I can answer some workflow questions for you. If you see lots of shallow depth of field shots it was probably shot on an HDSLR. That's about the only thing they have going for them video wise.
1) Without watching it I'm willing to guess it could all be done in Final Cut Studio or seeing CS4 in your signature, Adobe Creative Suite 4 Production Premium/Master Collection (Premiere/After Effects).
2) DVDs only show SD video. You can do anamorphic video to get widescreen video on a DVD, but anything 720p and up will require more than a DVD disc. You can also letterbox your video to get faux widescreen on a DVD.
3) FCS doesn't really support blu-ray. Apple in general does not support blu-ray. You can export to a codec that is blu-ray friendly but there is no blu-ray authoring software, nor can any Mac be purchased with a blu-ray drive to my knowledge.
4) There are lots and lots of ways to export from Final Cut Studio. I'm sure you can find several wrapper and codec combinations that Roxio will accept. The level of compatibility is a different issue..do you need subtitles, chapter markers, etc. If you need more than a video clip you'll probably hit some hurdles.
1) I'd avoid an HDSLR to get started out. They are a pain in terms of workflow. You have to transcode (convert) all the video from the nasty H.264/PhotoJPEG codecs they record in (H.264 for the Canon cameras, PhotoJPEG for the Nikons) if you want them to be friendly in Apple's Final Cut or Adobe's Premiere.
It is important to understand video comes in a few types of formats, acquisition formats, editing formats, and delivery formats. A .mov file is a wrapper can be contain perhaps hundreds of different codecs (only one at a time), AIC, ProRes422, ProRes4444, Animation, the list goes on and on, it is the codec used that is important. H.264 is a compressed, lossy video codec developed for delivery and now used for acquisition in consumer devices. Editing software wants something simpler to edit with, like Apple ProRes422 or AIC for Final Cut. Transcode it and you won't have to render out every frame (let the computer build a preview video in an editing codec so it can play it back smoothly), then re-render when you do so little as add a cross dissolve.
That also doesn't even begin to look into the audio issue. Using an HDSLR for video capture basically says you need a separate device (and likely another operator) for audio acquisition. These will have to be synced up in post.
I'd say do yourself a favour and get a video camera if you want to shoot video. When you've got a feel for the workflow and a better understanding of what you're up against an HDSLR can liven up your shooting with some shallow depth of field effects.
2) Final Cut Studio and Creative Suite 4 will both work with 7D video, but the 7D doesn't shoot "high quality data." The video it shoots is H.264, or compressed. Think of it as though every frame has gone through Photoshop and been saved as a JPG with the quality setting at 3 or so. It looks pretty good if you blow the background out of focus, but it has inherent issues that make it not the best for every situation.
3) The best way to retain image quality is good workflow from beginning to end.

24p Advanced- Highest Quality Output

Hi,
I shot DV footage with a DVX-100 using the 24p advanced mode. I was wondering how to extract the highest possible quality out of that footage for eventual HDcam uprez or even film output. I realize that all tape formats have some sort of compression, but on hard drives what is the best workflow to extract the highest possibly quality? Is it possible to do a hardware SDI uprez? Because I believe that SDI does not properly understand the flags for advanced pulldown removal which results in timecode ****. Only firewire can recognize those flags. Any info would be much appreciated!
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Rule: You cannot do better than capture it natively. Whatever format it is.
You'll want to remove that pulldown during capture if you are really printing it to film.
If you want to work in better than what you shot for graphics reasons etc... put it in a pro res sequence setting. you'll upconvert all to 4:2:2.
Capturing it as uncompressed, you could do that without much or any harm, however I won't look any better than what I've just suggested. You'll eventually have to render it all in the end. And a faster mac helps there.
Uncompressed files will be larger of course. Hardware conversion though may be best if you're really pernickity. However few if any will see much difference. Color correction is far more important.
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rolesh79 wrote:
.... It seems that the jpeg that iMove creates is too small (in terms of kb) to be of any use. Is there a way for iMovie to create larger, higher quality still photos?
No.
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New to Premiere and video editing. This is my first project. I could use some beginners advice on setting up/exporting frame size, dimensions, rate, etc.
I created some Premiere projects from some Mini DV footage I got transferred to .mov. I want finished movies to be the same dimensions. File size isn't important - just max. quality. I just opened a new doc and used the default settings and did a bunch of editing until I liked it. I'm not sure if the ori. file size is 640 or 720. For export, I chose all the max. quality settings but my first finished export .mov showed unwanted lines (top image, bottom is original mov w/ info. Hosted version: http://postimg.org/image/yfx72o4nt/
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Here's a screen cap of the original mov with the default Premiere settings I used.
LMK if I need to relay more info..
Mac 10.6.8 / PP CS6

TheOriginal150mph wrote:
I thought maybe the original was 640x480 and because the default PP setting I used was likely something larger, there were lines because Premiere stretched it out. So, I'm just lucky the default settings are 640x480? I dont understand where the 720 number fits in on my examples above.
I believe your source is in fact 720x480. Your exported file is displayed in 640x480 in QT likely due to a crop applied.
See:
Clean Aperture Mode
An image’s clean aperture is a region of video free from transition artifacts caused by the encoding of the signal. This is the region of video that should be displayed.
In this mode, the video track is cropped to the Clean aperture mode and scaled according to the track’s pixel aspect ratio. For example, a 4:3 DV NTSC track appears as 640 x 480; a 16:9 DV NTSC track appears as 853 x 480.
Via: Final Cut Pro 7 User Manual
If you'd like to read up on pixel aspect ratios, check this out: Adobe Premiere Pro Help | Working with aspect ratios
Another noob question. Is there a keyboard shortcut for "go to end of project", or "go to beginning"? (like in Adobe Director) I dont see any playhead-like controls..
If you're talking about the beginning and end of a sequence, try hitting the 'Home' and 'End' keys on your keyboard for that.
Your export settings look fine to me. Couple more suggestions:
Have you tried playing back the exported file with any other applications? E.g. VLC media player?
Other formats you can try: AVI (Uncompressed) (watch out for file sizes) and H.264 with a NTSC DV preset (supports progressive).
It's been ages since I last worked with DV/interlaced footage though, so I'm afraid I'm outta my depth here!
Did a search, found an old thread with some info that might be relevant? Quality problems when exporting mini DV AVI clips CS6 ...

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Since the file upload to YouTube becomes the source of their exported "Flash Video" you don't get much control over the end product.
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Dual Angles - How do I create highest quality output?

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