HDV digitizing

For some reason when I am importing in HDV every time there is a timecode break in my rushes a new clip is created. I've changed the settings so it shouldn't abort capture but why won't it capture the rushes as one continuous clip like with normal DV? Can anyone help? thanks...

when you have the log & capture window open, go to clip settings, and there is a box there that you need to uncheck. it says something similar to "make new clips at start/stop". i was having the same problem and this fixed it right up.
-gardner

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Codec for HDV to share between apple and pc??

our boss got us 2 G5s and a PC workstation, we can now only share movie files in uncompressed format between different platforms which costs a lot of disk space
is there a CODEC which can be used in both APPLE and PC that encodes HDV in relatively smaller file?
G5 Dual 2.7GHz Mac OS X (10.4.7) FCP 5.04

i'm sure there's codec that use RLE could be
lossless: ]
but this is not what i want.
i just need the codec that could be shared between
mac and windows and keep most of the quality of HDV
and compression ratio is close to HDV codec itself,
When analog signals are converted into HDV digital data inside the HDV camera, your video is no longer lossless. It's not lossless because HDV is based on MPEG-2, which is not lossless. So, I don't mean to insult you, but your comment is self-contradictory.
or may i ask is there a HDV codec which could be use
both in mac and windows?
HDV is a codec, so the answer is HDV. Or... As I said before, H.264 may be used to further recompress high-definition video.

Capturing HDV Into ProRes 422 (LT) Via FireWire

I read this fine tutorial on Moviola on the technique of Capturing HDV Into ProRes Via FireWire.
http://moviola.com/hdv_prores
Since you can choose ProRes 422 (LT) as an option in the Log and Transfer window, I was wondering if there is a way to capture HDV to ProRes 422 (LT) via firewire like in the above mentioned article.
I tried creating a custom capture setting in the AV Settings, but ProRes 422 (LT) was not available as an option, only ProRes 422 and ProRes 422 (HQ). And those settings cannot be edited or duplicated (grayed out).
I don’t know why ProRes 422 (LT) is available in the Log and Transfer window but not in the AV Settings window. Maybe it will become available in an update.
In the meantime, does anyone know a way to get around this? Maybe modifying an FCP file somewhere?
Thanks,
======
Richard

HDV is recorded to tape inside of the camera as digital information. Component coming out of the camera is analog. The camera is performing the first conversion D/A, from HDV (digital) to component out (analog).
Component going into the ioHD is analog. The ioHD then converts via its hardware to Prores (any flavor), which is digital. The ioHD has to convert the analog from the component outs of my camera to digital for use in FCP. FCP only uses digital video.
You said "The IOHD internally converts to ProRes.." converts to ProRes is the second A/D conversion.
So the path is D/A/D. I count that as two conversions, camera D/A as one the ioHD A/D as two.
I don't want to unnecessarily convert from digital to analog to digital which is why I don't use the ioHD to convert from HDV to Prores (any flavor).
Unfortunately I don't have any digital outs for this camera, neither HDMI or HD SDI.
I believe capturing and converting HDV to ProRes via firewire in FCP doesn't have this D/A/D conversion which is why I'd like to be able to capture HDV to ProRes LT via firewire in FCP and stay digital all the way, with no analog conversions.
I use the ioHD for all of my analog to digital conversions. It's a great box from a great company.
Thanks,
=====
Richard

Monitoring HDV

I have recently purchased a Blackmagic Decklink HD Extreme for my Mac Pro (tower) editing system. We shoot HDV and use FCP to edit. I bought the Blackmagic card because I was told that it would solve a problem of mine,w hcih is that when I am editing HDV, I cannot play it back on my Sony monitor, only stills appear when i pause. I also purchased an HD monitor and have connected it to my DeckLink via component and have been trying hopelessly to find the correct fcp easy setup and video playback setting in order for me to view the signal, (both by randomly trying setups and reading manuals) but have been unsuccessful. I was wonderign if anyone had any tips?

" I cannot play it back on my Sony monitor, only stills appear when i pause".
It sounds like you don't have the correct video playback setting. Most if not all HDV that is recorded to tape is 2997, 1080i and that is what you should set the sequence to. Forget the easy setups. I would try either an HDV or a 29:97 8-bit setting before I sent it back. My sure the sequence is set to HDV 2997 before you start. I get the same thing with my Kona LHe if I am set for 1080i/2997 and I want to view a 525 NTSC /2997 DV timelime. You may just need some BM support to get this right.
I also agree you will want to capture to an intermediate codec like DVCPRO HD so you don't have to play the HDV game and comform on output. It is easier to edit in all I frames than Long Gop from HDV. I connect a wirefire as well as my component connections and set the capture device to NTSC DV or NTSC Basic to capture timecode along with the v/a. I aslo have a Blackmagic Intensity card that is not supported with my PPC Mac but it does work if I clean boot and start a new project in FC, and I can shoot with my Sony V1u to tape in HDV and use the camera to playback for capture and use the HDMI port out for a true uncompressed 1920x1080 signal to the Intensity card and capture in many formats iuncluding DVCPRO HD and 8 or 10 bit uncompressed HD. I'm not saying uncompressed is the end all but it is possible. If you shoot a lot HDV and want a deck with HDMI you could find a newer Sony HDV camera w/HDMI as a cheap way to capture in what I believe is the best HDV digital source you can capture. I'm still having issues with keeping the timcode together but I'm going to purchase the Convergents MI coverter box to use the HDMI out and convert to HD-SDI into the Kona LHe which keeps A?V and TC togeher. Not sure what monitor connections you need but the Kona LHe is a wonderful piece of HD equipment.
Good Luck
Z1&V1user

Do I need FC/e for Film Festival Submission?

Or could I get by with iMovie, say 11, 09, or my old HD?
Will I be able to submit a sufficiently high def version using iMovie 11? Or will the degradation be too much, supposing that I edit in iMovie, then burn to DVD with iDVD.
The film will be about 7 minutes and shot with Panasonic GH1 and a Go Pro in HD. There may be slow motion and a mix of ambient sound, voice, and music.
It'll be entirely shot outdoors under somewhat nasty conditions. Meaning no lights, usually no tripod.
The reason I mention these latter points is that perhaps the quality of what I bring back (shaky, low light) might be the limiting factor and not the image degradation.
I have made many iMovies for YouTube, but would like to go bigger, so to speak, in quality of video, not necessarily length.
Would I benefit from going to Final Cut Express? Or stick with iMovie?

Yes, Banff Mtn Film Festival:
Here's what they ask (don't actually understand all the requirements, yet)
TECHNICAL REQUIREMENTS
For purposes of pre-selection, judging and festival screening, all
entries should meet the following criteria:
a) Entries MUST be accompanied by one polyboxed DVD-R NTSC
(Region 1 coded), which will be used for adjudication purposes.
b) Entries must also include a tape copy of the master. In order of
preference, videotape formats must be:
HD-D5 HDTV
DVC Pro
HDCam HDTV
HDV
Digital Betacam (525)
DVCam (525)
Betacam SP NTSC
MiniDV NTSC
Digital Betacam 625 and Betacam SP PAL/SECAM will
not be accepted. Due to reproduction issues, MiniDV
format is LEAST preferred.
c) Film entries must be 35mm or 16mm with OPTICAL or
MAGNETIC sound (no double band).
d) Production attributes should conform to typical broadcast
standards and include:
• 90 seconds of leader which include black, SMPTE colour bars
and black with either 0 dbvu (analogue) or –20dbFS (digital)
audio tone reference signals.
• Please remove commercial blacks and include a production
slate prior to the program start.
• 7.5 IRE Pedestal Black (preferred for NTSC).
• Maximum 105% IRE peak whites.
• Program start commences on the time-code hour.
• Program tail of two minutes of black.
• Digital content should be submitted with 48K audio and have
peak whites that do not exceed 105% IRE.

When I Burn to DVD I get poor video quality.

I need help with all the steps to ensure I'm doing this the right way when burning my videos to DVD. Here is a list of all my equipment and software:
OS -Windows 8
Program - Adobe Premiere Elements 11
System-
Processor- Intel(R) Core(TM) i5-4430 CPU @3.00GHz 3.00 GHz
Installed memory (RAM)- 12.0 GB
System Type- 64-bit Operating Sytem, x64- based processor
Video Card- GEFORCE GTX 760 2GB GDDR5
Video Camera- Sony HDR-FX1
Product Type Camcorder- 1080i
Progressive scan- Yes
Camcorder Media Type- Mini DV (HDV)
Digital Video Format- MPEG-2
Image Recording Format- JPEG
I did a sample 10 minute video (with no editing) burned it to DVD and the quality is almost VHS looking when I watch it on a DVD. I've tried many different options and still get the same results. I tried up-ing the DVD space by purchasing a Dual Layer Double Couche DVD+R but came out the same results. I put the settings ( when burning to DVD anywhere from NTSC_Widescreen_Dolby DVD to Just NTSC_Dolby DVD. I have put the Quality to 'Fit Contents to available space' and Highest Quality with no difference to the burned DVD. I've gone to File/New/Project and changed the settings to NTSC-AVCHD-Full HD 1080i 30 and regular HDV 1080i 30 with no change. There are like 15 different options and really don't know what I'm doing wrong. Please HELP me before I go Crazy!
Any help would be very much appreciated.
Thanks
Chris

Chris
For your consideration...
1. HDV data capture firewire into Premiere Elements 11 Capture Window.
a. Beforehand, set the project preset manually to NTSC HDV HDV 1080i30 via File Menu/New/Project. Before exiting the new project dialog, make sure you have a check mark after Force Selected Project Settings on This Project. Then go back to the Premiere Elements 11 Expert workspace and Add Media/HDV Camcorder.
or
b. Do your DVD Data capture, let the program set the project preset. Then verify the project preset via Edit Menu/Project Settings/General. Editing Mode should be HDV 1080i, Timebase should be 29.97 frames per second, and frame size should be 1440 x 1080. The pixel aspect ratio (grayed out) should be HD Anamorphic (1.333). Field Order should be shown as Upper Field First. If that is not the case, then start over and set the project preset yourself manually as described above in "1a".
Once you get the MPEG2.mpg on the Timeline, we are going to look at two different situations
a. the DVD-VIDEO results with Right click the video on the Timeline, select Field Options, followed by Reverse Field Dominance.
and
b. the DVD-VIDEO results with Moving forward not doing anything with the Field Options.
Since your source is 16:9, the you want to stay with the DVD-VIDEO widescreen (NTSC_Widescreen Dolby DVD preset in the burn dialog...Publish+Share/Disc/DVD disc)
If you select Publish+Share/Disc/DVD disc you will be viewing DVD-VIDEO widescreen format on DVD disc. The frame size is 720 x 480 and is stretched for display after encoding. As I said no where near 1920 x 1080. My recollection is that it is about 856 x 480. This can be played on the DVD player. Maybe some Blu-ray players if the players specifications provide for that.
If you select Publish+Share/Disc/AVCHD disc, you will be viewing AVCHD format on a DVD disc. You can set the preset for 1920 x 1080 and thus be viewing 1920 x 1080 on that DVD disc. BUT, AVCHD DVD cannot be played on a DVD player. It needs a Blu-ray player. And even all of Blu-ray players may not play it. It also can be played on the computer if you find a computer player to play it.
You mention your end results being pixelated. I am wondering if your pixelation is really an interlaced problem.
Your source is interlaced video with a field order = Upper Field First. The DVD-VIDEO standard calls for field order = Lower Field First. My suggestion above to look at Field Option Reverse Field Dominance goes to that point, reversing the field order. More on that later.
Let us see the results and then decide what next.
If you think you want to go Blu-ray, then we can talk about that too. Do you have any Blu-ray equipment now? For the time being, to get the flavor of the higher resolutions on disc, you could make the comparison of your DVD-VIDEO widescreen on DVD disc versus AVCHD on DVD disc.
Looking forward to your follow up.
ATR
Add On...After all of the above, I forgot to mention. Do your DVD work with a check mark next to "Fit Content to Available Space". The only time you want to leave "Fit Content to Available Space" uncheck is when and if you get a Data Rate error message where you have to lower the bitrate to be able to continue.

Any chance of success using iMovie for Film Festival Submission?

Say with iMovie, say 11, 09, or my old HD?
Or do I need Final Cut, say Express?
Will I be able to submit a sufficiently high def version using iMovie 11? Or will the degradation be too much, supposing that I edit in iMovie, then burn to DVD with iDVD.
The film will be about 7 minutes and shot with Panasonic GH1 and a Go Pro in HD. There may be slow motion and a mix of ambient sound, voice, and music.
It'll be entirely shot outdoors under somewhat nasty conditions. Meaning no lights, usually no tripod.
The reason I mention these latter points is that perhaps the quality of what I bring back (shaky, low light) might be the limiting factor and not the image degradation.
I have made many iMovies for YouTube, but would like to go bigger, so to speak, in quality of video, not necessarily length.
Would I benefit from going to Final Cut Express? Or could I stick with iMovie?
Anybody out there ever use iMovie for something like Banff Mtn Film Festival?

Yes, Banff Mtn Film Festival:
Here's what they ask (don't actually understand all the requirements, yet)
TECHNICAL REQUIREMENTS
For purposes of pre-selection, judging and festival screening, all
entries should meet the following criteria:
a) Entries MUST be accompanied by one polyboxed DVD-R NTSC
(Region 1 coded), which will be used for adjudication purposes.
b) Entries must also include a tape copy of the master. In order of
preference, videotape formats must be:
HD-D5 HDTV
DVC Pro
HDCam HDTV
HDV
Digital Betacam (525)
DVCam (525)
Betacam SP NTSC
MiniDV NTSC
Digital Betacam 625 and Betacam SP PAL/SECAM will
not be accepted. Due to reproduction issues, MiniDV
format is LEAST preferred.
c) Film entries must be 35mm or 16mm with OPTICAL or
MAGNETIC sound (no double band).
d) Production attributes should conform to typical broadcast
standards and include:
• 90 seconds of leader which include black, SMPTE colour bars
and black with either 0 dbvu (analogue) or –20dbFS (digital)
audio tone reference signals.
• Please remove commercial blacks and include a production
slate prior to the program start.
• 7.5 IRE Pedestal Black (preferred for NTSC).
• Maximum 105% IRE peak whites.
• Program start commences on the time-code hour.
• Program tail of two minutes of black.
• Digital content should be submitted with 48K audio and have
peak whites that do not exceed 105% IRE.

Video Clips That Do Not Play Audio

I know it's something simple. But I can't seem to find the solution.
I am editing .avi video clips (talking heads) with audio which was recorded on the camera audio tracks. The video clips all play just fine with the accompanying audio in the Source Monitor as well as in the Project Panel player. But when I Insert the editied clip onto the Timeline, the video appears, while the audio does not. It's clear I have done something to my settings or the like, as this problem just appeared where previously it did not exist. Can someone direct me to the source of my problem and the fix for it. Thanks very much.
I have noticed that when selecting a clip in the Source Monitor and choosing the Display Mode with the pop-up menu that 'Audio Waveform' is now greyed out.
Tom

Bill,
Did you mean to say "does not look problematic." or, as you wrote, "does look problematic."?
To answer your question, the latter; miniDV tape capture originally took place using another PC and was stored on an external HD. I downloaded the original miniDV tape files from that HD the other user had captured to. I will say this. The original notes regarding the tape logs made by the person who digitized footage indicates that the original HDV digitized footage (.mpeg) was simply "digitized." While the .avi footage was converted using Cineform; his logs also show the audio conformed using cineform as well. Is it possible this is the source of the wonkiness I am experiencing with audio and perhaps the source of all of my trouble?
To that end, if I were willing to start the project over entirely, could I simply delete the .avi files from my PC, begin a new project and import the HDV (mpeg) footage into PP project panel editing in that format? Considering the .avi DV files have a window burned Time Code which would eventually require me to conform the original HDV footage (mpeg) to the .avi (rough/fine) edit, would I be better off working with the original HDV footage to start with?
Oh. And to answer your last question: Yes, I have had no troubles whatsoever with scratch V.O. audio files I have recorded myself. I have recorded them at 24-bit 48K sample rate .WAV (poly) files and simply performed a drag and drop to my desktop before copying them over to my data disk where all the other files for my project reside. Each and every V.O. file I create shows up as a Waveforem on the Timeline.
I greatly appreciate your guidance.
Tom

Digitizing HDV footage with a Consumer Grade HD Camcorder

I have HDV footage on mini-digital tape. I need to digitize using Final Cut Pro. I shot the footage using a Sony HVR-V1U camera at 24p (an HDV camera and recorded onto mini-digital tape. I no longer have convenient access to the Sony HDV camera and was wondering if I can simply use a consumer grade high-definition camcorder to digitize the footage into my computer. If so, is there any quality degradation?

I have HDV footage on mini-digital tape. I need to digitize using Final Cut Pro. I shot the footage using a Sony HVR-V1U camera at 24p (an HDV camera and recorded onto mini-digital tape. I no longer have convenient access to the Sony HDV camera and was wondering if I can simply use a consumer grade high-definition camcorder to digitize the footage into my computer. If so, is there any quality degradation?

HDV and Digital Cinema View.

Hi I am using Digital Cinema View for playback of my timeline (View>All Frames) and the images seems to have traces (horizontal lines is best way I can describe) and text (like rendered Motion titles for example) looks poor too. My playback is set to Dynamic. My project is in HDV 108050i. I was assuming that the image quality would be the same as in the canvas (which looks great), but perhaps I'm missing something. Is it because the files have not been conformed?? When I watched a Print to Video, the image quality was perfect as you'd expect. I'm watching on a Mac 23" Cinematic Display on a Xeon Quadcore Mac Pro, 1Gb ram, external Lacie HD fw800 connected. Any help would be greatly appreciated. Thanks in advance, Alex.

Alex,
I have to admit that I don't have an external monitor, so... I've given you the best guess I have. It is odd that the fully rendered video doesn't play "clean".
You can certainly try "single frames" and post if that helps, kinda doubting that it will, but I really don't know.
Sorry, but I just don't have enough experience with all this to be able to offer more help. I was really hoping that someone who really knows this stuff would jump in and set everything straight.
As for "conforming", as far as I know, it is the process the computer goes through to make your computer a clean export (a render type action). Because of the way HDV is as a format (e.g. Highly Compressed) the computer has to work really hard to give you an image. The Conforming process "magically" makes that go away by putting the computer time in on the front end. So, while "Confroming" is an output action, it explains why without that your "output" to your screen isn't as nice looking.
Hope that makes sense and helps.
~Luke

HDV Luminance Crushed When Digitizing?

I just upgraded to Final Cut 6.
I've shot two interviews with a white background, with the intent to make it very white.
Shot with a Sony Z1U, I specifically lit the background and adjusted the iris so that it read 100% IRE via the zebras. I backed off the aperature by no more than 1/2 stop to just remove zebras from the white background, and then lit my subject based on the background exposure (e.g., I adjusted their lights, not the aperature).
Here's the problem: After digitizing the footage via firewire at both Apple Intermidiate Codec and Native HDV codec, the whites are crushed and the waveform monitor (in FCP) shows the white background as 80%! It should be at least 90%, if not 95%, minimum. 80% just should not be! Both the LCD on the camera and my Sony 8044Q 9" high-end monitor show me WHITE as the background, virtually blown out; yet on the FCP scope it's showing 80%.
My 23" Apple Monitor is calibrated using the Pro version of ColorVision calibration software, and yet, everything looks very warm on my LCD screen as well. Okay, perhaps there's going to be a slight shift in color due to differences in monitors (which is much more than I think it ought to be), BUT, the scope says 80%. So, something somewhere is going on (wrong), and if you have any idea how to help me figure it out, I would be quite thankful.
If it helps, here it is posted on my web site: http://www.thenaturalguide.com/Videos/VegVickiQT.htm
Thank you,
Larry

Greetings everyone,
Just want to add my two cents and testify that this is a real problem regardless of what JVC or Apple want to disavow. My comrade and I shoot with two JVC GY-HD100U's with the HDV 720p30 codec. We purchased the Firestore DR-HD100's (God bless their soul - I don't care what all the reviewers say about this product - they need a visit from the iPod development team) with the cameras and use those for majority of jobs. No problems with TC breaks. However take that backup tape that was simultaneously recording with the Firestore and perform long captures from tape, we encounter stream breaks. Both cameras have had this problem out of the box. We don't have a dedicated deck since we figured most work will come off the Firestores so when we capture from tape its from the camera. However the Firestores are limited by battery life and for long continuous shoots we fall back on tape. Hence the frustration of TC breaks. Could someone from JVC or Apple take some initiative and find the flaw? Thanks.
iMac 20-inch 2 GHz Intel Core Duo Mac OS X (10.4.5) 1GB System RAM/256MB Video RAM

Can I author hi def HDV video and surround digital audio by sending a file

Create a bl;ue ray HDV video and surround-digital audio
Posted: Nov 2, 2006 10:43 PM
I have a MAC G5 dual processor, Final Cut Pro, DVDSP, and a home network connecting the MAC to an IBM PC with a Blue Ray Burner. You would think that wioth my Sony HDV camera, I could create HDV hi-def video material and a Dolby 5.1 or DTS audio track along with it and burn a Blue REay media and then be able to play it on a Sony Blue Ray player in my home theater.
Well, How do you do this? I have been wanting to create some of my own stuff and record like this so anyone with the equipment could view it.
Please RSVP

I recently made a dual layer disk on one of our G5s without a dual layer burner by doing the final burn on a PC. I imagine you could do the same with blue ray.
Just edit the project and make your hi def DVD on the MAC using FCP and DVDSP. In DVDSP Build the project to a suitable folder on the hard disk. Copy the files to your PC and burn the disk as a data disk with the burner software.
Trevor

How can I digitizing HDV tapes into FCPX

I am about to upgrade my Mac laptop and FCP, but I need to know how I can import (digitze) my HDV tape based video into FCPX. The camera has firewire 400, but I have used a firewire 400 to 800 cable to digitize into Final Cut Studio. What is the best way to do it?

If you get the Retina MBP, you will need to get a FW–Thunderbolt adaptor to use with your 4 pin to 9 pin cable.
Russ

HDV "Stream Problem" while digitizing.

I am trying to digitize some HDV footage shot in 720p30. I get deck control I can play the footage in the capture window but when I try to capture now it will capture only a few seconds and then stop and give me this message.
"Stream Problem"
"Capture was stopped due to a problem with the incoming stream. This might be a problem with the tape. All media up to this point has been preserved."
Does anyone know what is going on here or how to fix it?

Greetings everyone,
Just want to add my two cents and testify that this is a real problem regardless of what JVC or Apple want to disavow. My comrade and I shoot with two JVC GY-HD100U's with the HDV 720p30 codec. We purchased the Firestore DR-HD100's (God bless their soul - I don't care what all the reviewers say about this product - they need a visit from the iPod development team) with the cameras and use those for majority of jobs. No problems with TC breaks. However take that backup tape that was simultaneously recording with the Firestore and perform long captures from tape, we encounter stream breaks. Both cameras have had this problem out of the box. We don't have a dedicated deck since we figured most work will come off the Firestores so when we capture from tape its from the camera. However the Firestores are limited by battery life and for long continuous shoots we fall back on tape. Hence the frustration of TC breaks. Could someone from JVC or Apple take some initiative and find the flaw? Thanks.
iMac 20-inch 2 GHz Intel Core Duo Mac OS X (10.4.5) 1GB System RAM/256MB Video RAM

Digitizing DV in an HDV proejct

Is it possible to digitize DV into an HDV project in Final Cut. If so, what steps do I need to take?

Create a new project, choose DV/NTSC for your Easy Setup, and capture away. When you are done, drag the clips into the HDV project (or import them) and then edit away. Know that you will have to resize and render every DV clip you add to the sequence.
Shane

HDV digitizing

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