HDCAM SR footage

Hey guys--
I have all my source footage from a music video in 1080P/23.98, HDCAM SR to be specific. I would like to get an uncompressed quicktime file of all the footage for editing in Final Cut Pro. Has anyone done this before? My main questions are:
1) What kind of hard drive space are we talking about? If I have 45 minutes of footage, what can I reasonably expect to need?
2) Can Final Cut work in native HD like that? What kind of system requirements would you guys recommend? I imagine I'll need to beef up my RAM a bit, since until now I've only done standard-def videos and HDV.
All comments appreciated ...

Don't use Uncompressed. Use Prores - that your system should be able to handle.
Uncompressed 1080P? I doubt a good 4 drive RAID will be fast enough. Do some poking around http://hdforindies.com for some HD requirements.
I use ProRes all the time for HD editing. (I never do Offline/Online if I can avoid it).
Patrick

Similar Messages

24 fps strange problem...

I've digitized HDCAM SR footage. It's 24 fps 4444 SQ format. I used a ProRes 4444 24 psf easy setup. It should result in a 24 fps clip. It means that TC format should be 24 fps which means that after 23rd frame should appear frame 00. Truly it looks like 25 fps TC format because after 23rd frame appears frame 24rd and then frame 00. What's also strange is that FCP Browser shows this clip as 24 fps, QT movie inspector also says that is 24 fps clip and Mediainfo also says the same... It looks like I've digitized 24fps footage wich has 25 in every second... What I did wrong...?
thank's
Mark

Are you sure it's 24 fps not 23.976fps? I looked on wikipedia and it looks like HDCAM SR supports 24p and 23.976, not exactly 24 fps. Of course, your easy setup may be that frame rate also. Just checking. Also, you might try bringing the file into cinematools and see if you can conform to 23.976. Might fix it.

HD footage and some DV footage..OUTPUT to HDCAM

Hi,
I am editing several movies and some of them are HD footage and some are DV footage.. I am trying to take these to the company to do the color correct..
I have to prepare this for the screening which has a big screen..
What is the general process ?

Why don't you contact the Colorist and ask them what format and how it should be delivered?
good luck,
x

Editing ProRes or Pro ResQ for HDCAM footage

What's the best workflow for cutting HDCAM 24p with limited storage space 500G? Should I capture in Pro Res? Pro RES HQ or DV anamorphic. Is there a 24p setting for sequences in any of these formats?

Are we talking about an online or an offline? I'm gonna assume you mean offline; otherwise the idea of down-rezzing to DV sounds, well, kinda nuts. No offense intended. (Did you mean HDV? Still kinda nuts, but considerably less so.)
If you're offlining, with the intention of conforming to online later, check out the Offline RT presets. They use M-JPEG compression, I think, and look terrible, but they're perfect for doing your edit on small, heavily compressed files and then finishing in something like 10-bit ProRes 422 HQ or uncompressed 4:2:2.

Audio sample rate does not match (HDcam to dvcam)

I'm trying to import clips and keep getting this message:
"The audio sample rate of one or more of your captured media files does not match the sample rate on your source tape. This may cause the video and audio of these media files to be out of sync. Make sure the audio sample rate of your capture preset matches the sample rate of your tape."
Footage was originally shot on HDCAM and transferred to DVCAM elsewhere. Using FCP 5, am importing via firewire from a Sony DSR-11 deck. Using DV NTSC 48kHz Anamorphic as capture settings (though I've tried everything that I thought might possibly work with no success). The audio does not seem to drift over the course of several 5 minute or so clips. Clip settings show audio at 48 kHz (don't know if that's from capture settings or from actual data). Seems to me all audio should be 48 kHz 16 bits, so can't figure out what's going on. I have to export an EDL for the project to be finished in HD. Read some similar threads that ended in December, seemingly without much resolution. My broader concern is why this is happening; my immediate concern is do I need to worry about this right now since the media files will need to be recaptured in HD anyway. Any thoughts?
Thanks

A little more info. I'm having this problem on 4 tapes (from different cameras) that were transferred to DVCAM in a squished format to appear full screen on a 4x3 monitor. Video that was letterboxed and I can bring in with the standard DV NTSC capture settings does not have this problem. Still have the problem if I try to import the clips from the squished video with standard settings. Any thoughts?

Right way to handle progressive 1080 footage in FCP

Just want to make sure how the workflow goes and how the things get done the right way from the beginning.
What I'm trying to uderstand here is how I should set up and what things to consider with 1080p25 material that I wish to keep progressive through the whole process. My hardware is:
Quad 2.5 G5 with 4.5 GB of RAM
Aja Kona 3 capture card
SONY HDW-S2000P HDCAM recorder
FCP 5.1.2
Mac OS 10.4.8
Footage was shot on HDCAM 1080p25. Should I capture that using Apple uncompressed 4:2:2 codec (1080i50). How is the progressive nature of footage retained as there seems to be no 1080p25 ability in FCP? When I edit back to tape should I use 1080i50 or 1080psf25 on my Sony HDW-2000?
If someone can clarify this step by step, I would be a happy camper...
QT 7.1.3
Final Touch HD 2.6.1 with Tangent panels

Use the stock presets all the way here... i.e. if it's 25fps, use the Kona's 50i... you won't lose the progressive scan at all, and 50i will not interlace the progressive scan footage.
Jerry

Onlilne HDCAM edit - what sequence/capture settings?

Good Afternoon,
We have completed the offline edit of a 3 minute video that was shot on HDCAM,then edited using low-res Photo JPEG.
Using Media Manager we are planning to create a duplicate sequence to use to capture and connect the clips to the HDCAM footage.
What sequence settings do we use and what capture preset do we use? The manual isn't very clear on this.
Thanks!

That's the card...not the drives. What DRIVES do you have? What DRIVE ARRAY? The card will be fast enough...if the raid array attached to it is fast enough.
How fast is it? I don't know...you need to test that out. Use the AJA Kona System Test application found here:
http://www.aja.com/html/supportkona3swd.html
Shane

HDCAM Workflow Questions

Hello Everyone,
Here is my situation. My client shot HDCAM footage (4 sony F900 cameras - TC Jamm sync) in 24p (not sure if is Advanced or not) and also shot an interview (2 Sony F900 cameras - TC Jamm sync) in HDCAM 30 FPS using green screen.
We are only shooting in HDCAM for the purpose of future compatibility. We will ultimatly master to DVCAM.
I am considering buying a Decklink HD Pro card to get the footage into my system. I understand I can capture the 30FPS green screen footage in uncompressed SD (in order to retain luminance for keying, I'll convert it to DVCAM after compositing).
HERE IS WHERE I GET STUCK. How do get the 24FPS footage to DVCAM? Will the decklink card convert 24 to 30FPS in realtime? Will I need to capture it in 24 and then convert it to 30? Unfortuntaly I do not understand this process, especially since I will be mixing frame rates.
Any help would be greatly appreciated. Any holes in my thinking would also be helpful.
Allan Spiers

Thanks Kyle,
You confirmed my hunch. Late yesterday, I spoke with the pre-sales guy at Black Magic Designs. He basically told me the same thing. He said I could do the pulldown usng the deck, using his Decklink card or using Nattress' standards converson software. My choice.
One more question. Say in the future we need to go back to the original HDCAM tapes and recapture. Will this be a problem with it having been in 24p? or is this were Cimema Tools comes into play and I create a flex file to reference the 24p?
Thanks.
allan

Poor Quality DVD footage

Hi There
I wandered if anyone can help, please!
From FCP, I've exported a QuickTime movie using compressor and the XD CAM 1080 25p codec (as this is the source footage). Open the mov in QT and it plays perfectly.
I create and burn my disk using DVDSP (4.2.1) and the footage looks terrible. It's quite smeary and in parts, seems to drag. It looks like and interlacing problem but I've shot and exported progressively.
Is there something I'm doing wrong between exporting from FCP and burning from DVDSP?
Any help greatly appreciated!

> okay, let me be more general
I think you mean SPECIFIC
> what's the best method for creating a dvd from footage shot on HDCam,
downconverted to DVCam, and now ready for output
Let's stop here for a moment . . . HOW did you downconvert?
> problem i'm having is getting a nice, clean output on
the dvd.
WHY . . . describe what is wrong with the result?
Presumably, you've checked this on a Professional monitor - or at least a TV? A computer screen won't give you a true picture.
> compressor simply locked up my computer
Are you running any anti-virus software?
How much RAM and Processor Power do you have?
And whilst we're on the subject, how much free space on your Hard Drive?
And are your MEDIA Files (not FCP clips) on a different drive to your Mac System?
We need information before we can help you.
Andy
G5 Quad 8GB. 250+500 GB HDs. G-Raid 1TB. FCP 5.1.1. Shake 4.1. Sony HVR Z1E Mac OS X (10.4.7)
"I've taught you all I know, and still you know nothing".

Exporting HD Cam footage

What is the best way to export HDCam footage from Final Cut? If I export to a QuickTime movie will that QuickTime file still be HD footage? I need to get some footage to someone today so any help would be great! Also if I burn that QuickTime file to DVD will it compress it or how should I transport the footage so she can work with it?

See my response on the Cow.
http://forums.creativecow.net/readpost/8/1018383
Shane

Compressor Help for HDCam Tape Layoff

I have footage that was shot on the RED, graded and output via Apple Color, and now has the following specs:
resolution: 2048x1152
pixel aspect ratio: square
frame rate: 23.98
field dominance: none
and I need to lay it off to HDCam for screening purposes. The venue has requested
"an Apple Pro Res QT to be laid off to HDCam tape at 1080i/59.94"
What's the best way to get them my footage without it getting mangled in the process?

As noted above, there are 6 versions of "ProRes Quicktime". It doesn't hurt to verify exactly which one.
Getting it done ....
Open up Compressor
Select the appropriate ProRes preset in Settings. It can be found in Apple> Advanced format conversions folder.
Copy it and select the copy in the Settings list.
Go to the Inspector window.
Change the name to something meaningful to you - "Red to ProRes 1080i" would work for me.
Start working through the settings. The key thing to keep in mind is you are turning a progressive 23.98 large raster image into an interlaced 29.97 smaller raster image. You will want to have FRAME CONTROLS turned on to get the best frame rate and image size conversion.
Do some tests with smaller segments to judge time vs quality. Unless there is a decided quality benefit THAT YOU CAN SEE, stay away from BEST. It adds enormously to the time.
Or, find someone with a Kona3 that can do the conversion to 1080i ProRes for you in hardware.
If you have additional questions, post back.
Good luck.
x

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

Best external drive for F900 footage via BM Multibridge Pro.

Hey guys,
I am going to be embarking on another feature in the coming moth that was again shot on hdcam Sony f900 tapes at 1080 23.97. This is again however a low budget show and thus i need some advise. I am currently traveling frequently and was hoping to be able to cut on my macbook pro using downrezed dv footage on an external drive(downrezed via the sony jh3's firewire out), however because of the budgetary considerations i will need to use the same external to uprez to. I am planing on picking up(out of my own funds) a multibridge pro for the uprez and would like to break away from the dvcprohd codec i have been limited too on past projects and do 8 or 10 bit HD. Now i can do the uprez on my g4 or g5 via the hdsdi 4:2:2 on the multibridge but with what affordable external storage? Gtech's site quotes their esata drives as not being able to handle uncompressed HD and i was under the impression that esata was the preferred method for doing external storage. I would love to build one of Shane's external sata rigs but this is a low budget film where they would buy the storage for me to cut on and then keep it when i am finished. Ideas?

eSATA can handle it, you just need to have a large enough RAID stripe. A two drive stripe on a G-Raid can handle 3 streams of DVCPRO HD, but not uncompressed HD. Only 5 drive Raid arrays can handle uncompressed HD, but getting that option that connects to a MacBook Pro will be difficult. CalDigit has a 5 drive eSATA Raid called the S2VR HD, but the PCIexpress card doesn't garner the transfer times that the PCI-X and PCIe cards that go into G5 and MacPro towers can. I will be working with the CalDigit guys next week, I'll see what numbers they get.
Uncompressed HD on a Laptop is a stretch, IMHO. But you can always use the media manager to convert the footage to DV and edit that on your laptop. Hmmm...but then you'd need two drives. Hmmmm...
Shane

Kona DVCPro HD to HDCAM Cross-Convert Question for Shane Ross

Hi Shane (Or anyone else whose done this)... Shane posted the comment below at Creative Cow Oct'06:
Quoting Shane: "...because with FCP I can capture DVCPRO HD 720p 23.98 and edit at full resolution. When I lock picture I can, with the use of a Kona 3, cross convert to 1080p 23.98 via the hardware and output to HDCAM."
GREAT! I want to mimic this workflow!!! I have a completed project that was edited as above in FCP (based on your creative cow video tutorial). I shot with the HVX200.
1. Are you happy with the cross-converted 960X720 DVCPro HD footage to 1080p 23.98 quality? I'm assuming this is 1920X1080...
1b. Why not 1280X720? The original .mxf. Seems like that would provide better resolution . What am i missing?
2. Any Artifacting/aliasing? How did titles and transitions hold up? Did the reds bleed?
3. Are there any new advances that you've come across that i should look into as well?
4. And, can you be more specific about how you did question # 1. What codec; Does it come with the card or is it in FCP? What VTR do you suggest?
5. Can i do the above with a BlackMagic card? Which one?
6. What am i forgetting to ask?
Big fan, your posts have saved me hours of headaches over the last 5 months. Cheers...
Hayden
Mac Pro 2.66, 2GB ram, 250GB system, 1TB internal raid, ATI x1900xt and NVidia 7300GT Mac OS X (10.4.8)
Mac Pro 2.66, 2GB ram, 250GB system, 1TB internal raid, ATI x1900xt and NVidia 7300GT Mac OS X (10.4.8)

1. Are you happy with the cross-converted 960X720 DVCPro HD footage to 1080p 23.98 quality? I'm assuming this is 1920X1080...
Absolutely. It looks great. But, this is HDCAM, so it is anamorphic HD...1440x1080. Since DVCPRO HD is anamorphic as well...it all works out.
1b. Why not 1280X720? The original .mxf. Seems like that would provide better resolution . What am i missing?
The network delivery specs require a 1080p 23.98 master on HDCAM or D5. They chose that because you can convert that into anything.
2. Any Artifacting/aliasing? How did titles and transitions hold up? Did the reds bleed?
No artifacting or aliasing whatsoever. Titles and transitions all held up. No bleeding in the reds.
3. Are there any new advances that you've come across that i should look into as well?
ProRES...that will come with FCP 6. I'll be playing with that codec when I get my hands on it.
4. And, can you be more specific about how you did question # 1. What codec; Does it come with the card or is it in FCP? What VTR do you suggest?
It was really VERY simple. The Kona 3 has an option in the Kona control panel to cross convert 720p to 1080p. We chose that. Then we blacked the first 3 min of the tape, then used EDIT TO TAPE to output. The card did everything. Not sure about the model of the VTR...it was the Sony HDCAM deck (not HDCAM SR).
5. Can i do the above with a BlackMagic card? Which one?
I don't know if any of the Blackmagic cards can cross convert. You'll have to ask them.
6. What am i forgetting to ask?
Where you can send the check for all the workflow advice I am giving to you (and everyone)
Also, how did we deal with our downconverted masters we were also required to deliver. While the network wants an HD master, they don't air HD. They air in SD from a digitbeta master. We had to do a separate output to digibeta with all the graphics properly sized for letterbox output.
Shane

Issue printing ProRes to HDCam SR

Hello all,
I'm seeing an issue turning up when I print footage out to a 5500 HDCam Sr deck. We're running tiger (10.4.11) FCP studio 2, and using Kona 3's.
The Issue seems to be a grain 'sharpening'. It seems to hit the grain structure and not as much the picture overall as much. Although there seems to be a very slight luminance shift as well. It looks fine on our panasonic BH monitors, but when capturing back from tapes that were printed out, it's there and easy to see when A/B-ing the footage.
At this point, I'm not sure if it's the render settings in fcp (10 bit YUV, RGB, superwhite vs white etc) Kona control panel (v 5x and 6x) settings, or on the deck itself.
The effect does not show up when capturing dailies, so I'm pretty sure it's on the printing out and not on the capture.
Any help would be greatly appreciated. I have tried playing with various settings in all three, but have stumped myself.

Hey Shane,
Thanks for the quick reply! ^^
I considered the generational loss thing too, but the interesting things are that we don't have this with our HDCam deck (HDW f500) and the fact that we had it on a print out to tape (on the 5500) with some wipe transitions on a 1st gen print out. (which is where we first discovered it- the interesting thing is that we found it again on a recapture)
Those settings(YUV hi precision 10 bit) are what I was running before we found it, and then I changed it in testing to the RGB setting and it seemed to lessen it. Another interesting point is that it showed up on another 1st gen printout (dailies captured, cut and output) where we had FCP generated titles.
Hope that makes sense and helps narrow things down,
thanks a bunch!

HDCAM SR footage

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