HDV to Broadcast HDTV

Hello,
I would like to get some info on making HDV work with HDTV. My project is to make a commercial with FX-1 HDV using FCP5 and exporting to miniDV to work with cable company's HDTV broadcasting. I found some helpful posts, but I'm still parched. I also found that when playing back HD video after exporting to QT, the motion shots look wavy. I'm new at HD anything, so anything will be helpful.
Thanks,
BoeBoe
G5 Dual 2.5 Mac OS X (10.3.9) 2 GB, 800 HD, Sony Fx-1, FCP Studio, Father of 2 boys

You need to contact whatever network or TV station you want to send this too and ask them for their broadcast specs for airing HD. Many don't air HD...mainly just the Major Networks and Cable stations. But they will tell you what they will accept as an HD deliverable, then it is up to you to figure out how to get it to that format.
MiniDV is not HD...by ANY stretch of the imagination. And HDV is barely so. Many places may not take that as viable HD...that is why you need to talk to them.
Right now we are talking with the History Channel to see if the HVX-200 would be an acceptable B-CAMERA...that is not the main camera, but just ued for coverage. They currently only take DVCPRO HD from the Varicam as their lowest level of HD, and want a master on D5. If we get to use the camera, then we will have an agreement that only 10-20% of the footage can come from that camera...
Shane

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whenever i bring in an image sequence the interpret footage dialog is
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or whatever i'm working at. how do i change the default for this? i searched
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thanks for the pointer.
gave the file a quick once-over but didn't see anything in it about image sequences.
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# "Interpretation Rules.txt"
# Adobe After Effects Automatic Footage Interpretation
# lines beginning with "#" are comments
# basic format of a hard rule: {match requirements} = {set interpretation}
# basic format of a soft rule: {match requirements} ~ {set interpretation}
# + for each rule that matches, the interpretation is set; wild-cards ("*") allowed
#   on both sides; wildcard match matches anything, wildcard set sets nothing
# + multiple rules are allowed to match, later matches override earlier matches
# + all rules are scanned in order, one rule per line
# + rules are applied after pixel aspect ratio, alpha information, and field label
#   information is read from a file
# + soft rules will not override values that are specified explicitly by the file format or set by previous rules
# width, height, frame-rate, file-type, codec =
#     pixel aspect ratio/name, field order, conform frame-rate, alpha interp, icc profile code or profile description (one or the other), linear light
# width & height are integer numbers
# frame-rate is a decimal number
# file-type is four characters in quotes (4c's)
# codec (applicable for QT & AVI only) is also 4c's
# to find out the file-type and/or codec 4c's for a specific type of footage,
#    opt-click (Mac) or alt-click (Windows) on the footage in the project window;
#    the 4c codes will appear in the last line of text by the thumbnail
# the pixel aspect ratio is a ratio of integers (e.g. 10/11)
#   optionally followed by a name for that ratio (e.g. 10/11/"My Aspect")
# In After Effects CS4 (v9) we modified the Pixel Aspect Ratio's for several common formats:
#    D1/DV NTSC From 648/720 (0.9) to 10.0/11.0 (about 0.9091)
#    D1/DV NTSC Widescreen from 6/5 (1.2) to 40/33 (about 1.2121)
#    D1/DV PAL From 768/720 (1.07) to 768/702 (about 1.0940)
#    D1/DV PAL Widescreen from 64/45 (1.42) to 1024.0/702.0 (about 1.4587)
# the field order is a single character, (F=frame, U=upper field, or L=lower field)
# the conform frame-rate is a decimal number
# alpha interp: (I=ignore, S=straight, P=premul/black, W=premul/white)
#    alpha interp is ignored for footage without an alpha channel
# icc profile is specified either by profile code which is four characters in quotes or by profile description which is a string in quotes with at most 255 characters plus quotes
# The supported profile codes are:
#    - working space profile: "wRGB"
#    - embedded profile: "embe"
#    - preserve RGB: "pRGB" (this does exactly what Preserve RGB checkbox does in Interpret Footage dialog)
#    - sRGB: "sRGB"
#    - Adobe RGB: "AS98"
#    - Kodak 5218 film profile: "ginp"
#    - SDTV NTSC: "r6nf" (SMPTE RP 145 primaries and ITU-R Rec. 709 TRCs. Black is encoded at 0 and White is encoded at 1.)
#    - SDTV NTSC 16-235: "r6ns" (SMPTE RP 145 primaries and ITU-R Rec. 709 TRCs. Black is encoded at 16/255 and White is encoded at 235/255.)
#    - SDTV PAL: "r6pf" (EBU Tech. 3213 primaries and ITU-R Rec. 709 TRCs. Black is encoded at 0 and White is encoded at 1.)
#    - SDTV PAL 16-235: "r6ps" (EBU Tech. 3213 primaries and ITU-R Rec. 709 TRCs. Black is encoded at 16/255 and White is encoded at 235/255.)
#    - HDTV (Rec. 709): "r7hf" (ITU-R Rec. 709 primaries and TRCs. Black is encoded at 0 and White is encoded at 1.)
#    - HDTV (Rec. 709) 16-235: "r7hs" (ITU-R Rec. 709 primaries and TRCs. Black is encoded at 16/255 and White is encoded at 235/255.)
# The profile description can be looked up either in UI (project window thumbnail info) or in a color utility such as ColorSync or it is user-defined
# when creating a custom profile
# linear light is an integer (0=Off, 1=On, 2=On for 32 bpc footage)
# soft rule; assume ATSC 704x480 in any format is D1 aspect
704, 480, 29.97, *, * ~ 10/11, *, *, *, *, *
# NTSC rules
# soft rule; assume 720x480 29.97fps formats are DV NTSC (lower, NTSC D1/DV aspect)
# soft rule; assume 720x480 formats with all frame rates have NTSC DV/D1 pixel aspect ratio
# soft rule; assume 720x486 formats with all frame rates have NTSC DV/D1 pixel aspect ratio
# soft rule; assume 720x480 and 720x486 native mediacore formats are SDTV NTSC
# soft rule; assume 720x480 DVCPro50 files are SDTV NTSC
720, 480, 29.97, *, * ~ 10/11, L, *, *, *, *
720, 480, *, *, * ~ 10/11, *, *, *, *, *
720, 486, *, *, * ~ 10/11, *, *, *, *, *
720, 480, *, *, "dvc " ~ *, *, *, *, "r6nf", *
720, 486, *, *, "v210" ~ *, *, *, *, "r6nf", *
720, 486, *, *, "UYVY" ~ *, *, *, *, "r6nf", *
720, 486, *, *, "2vuy" ~ *, *, *, *, "r6nf", *
720, 480, *, *, "dv5n" ~ *, *, *, *, "r6nf", *
# PAL rules
# soft rule; assume 720x576 25fps formats are DV PAL (lower, PAL D1/DV aspect)
# soft rule; assume 720x576 formats with all frame rates have PAL DV/D1 pixel aspect ratio
# soft rule; assume 720x576 native mediacore formats are SDTV PAL
# soft rule; assume 720x576 DVCPro50 files are SDTV PAL
720, 576, 25, *, * ~ 768/702, L, *, *, *, *
720, 576, *, *, * ~ 768/702, *, *, *, *, *
720, 576, *, *, "dvcp" ~ *, *, *, *, "r6pf", *
720, 576, *, *, "v210" ~ *, *, *, *, "r6pf", *
720, 576, *, *, "UYVY" ~ *, *, *, *, "r6pf", *
720, 576, *, *, "2vuy" ~ *, *, *, *, "r6pf", *
720, 576, *, *, "dv5p" ~ *, *, *, *, "r6pf", *
# D16/D4 rules
# soft rules; assume 2880x2048, 1440x1024 formats with all frame rates D16/D4 pixel aspect ratio
# removed from 7.0 -- remove comments to re-enable
# 2880, 2048, *, *, * ~ 128/135, *, *, *, *, *
# 1440, 1024, *, *, * ~ 128/135, *, *, *, *, *
# HD / HDV rules
# soft rule; Panasonic Varicam is 960x720
# soft rule; Sony HDV is 1440x1080, upper field first
# soft rule; assume HD dimensioned native mediacore formats are HDTV full swing
960, 720, *, *, * ~ 1280/960/"HDV", *, *, *, *, *
1440, 1080, 25, *, * ~ 1280/960/"HDV", U, *, *, *, *
1440, 1080, 29.97, *, * ~ 1280/960/"HDV", U, *, *, *, *
1280, 720, *, *, "v210" ~ *, *, *, *, "r7hf", *
1280, 720, *, *, "UYVY" ~ *, *, *, *, "r7hf", *
1280, 720, *, *, "2vuy" ~ *, *, *, *, "r7hf", *
1920, 1080, *, *, "v210" ~ *, *, *, *, "r7hf", *
1920, 1080, *, *, "UYVY" ~ *, *, *, *, "r7hf", *
1920, 1080, *, *, "2vuy" ~ *, *, *, *, "r7hf", *
# soft rule; assume HDV formats are HDTV full swing
*, *, *, *, "hdv1" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv2" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv3" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv4" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv5" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv6" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv7" ~ *, *, *, *, "r7hf", *
# assume NTSC DV is D1 aspect, lower-field
# <obsolete rules -- superceded by soft rules above>
# 720, 480, 29.97, "MooV", "dvc " = 10/11, L, *, *, *, *
# 720, 480, 29.97, "MooV", "dvpn" = 10/11, L, *, *, *, *
# 720, 480, 29.97, ".AVI", "dvsd" = 10/11, L, *, *, *, *
# soft rule: tag Cineon files with Kodak 5218 profile
# remove comment below to enable
# *, *, *, "sDPX", * ~ *, *, *, *, "ginp", *
# soft rule: tag all Cineon files for now with Working RGB
*, *, *, "sDPX", * ~ *, *, *, *, "wRGB", *
# this soft rule should be the last in the list of soft rules
# soft rule: tag all untagged footage with an sRGB profile
*, *, *, *, * ~ *, *, *, *, "sRGB", *
# hardware- and format-specific rules
# Media 100 640 x 480 is square-pixel, upper-field first
640, 480, 29.97, "MooV", "dtmt" = 1/1, U, *, *, *, *
# Media 100 Finish 720 x 486 is D1-pixel-aspect, lower-field first
720, 486, 29.97, "MooV", "dtNT" = 10/11, L, *, *, *, *
# assume Matrox DigiSuite is D1-pixel-aspect, lower-field first
720, 486, 29.97, ".AVI", "MJPG" = 10/11, L, *, *, *, *
# assume Pinnacle Targa 3000 YUV is D1-pixel-aspect, lower-field first
720, 486, 29.97, ".AVI", "UYVY" = 10/11, L, *, *, *, *
# Media 100 Mac 720 x 486 is field-labeled by Media 100, and
# can be upper or lower depending on the hardware, but
# uncomment the next line to force D1, lower-field first
# 720, 486, 29.97, "MooV", "dtmt" = 10/11, L, *, *, *, *
# Avid 640x480 is square-pixel, upper-field first
640, 480, *, "MooV", "avr " = 1/1, U, *, *, *, *
# Avid Meridien Codec NTSC is lower-field first
720, 486, 29.97, *, "AVDJ" = 10/11, L, *, *, *, *
720, 486, 29.97, *, "AVUI" = 10/11, L, *, *, *, *
# Electric Image writes straight alpha files
*, *, *, "EID2", * = *, *, *, S, *, *
# OpenEXR is premultiplied by convention
*, *, *, "oEXR", * ~ *, *, *, P, *, *
# only adds a custom pixel aspect ratio to the popup in the Comp Settings & Interpret Footage
# dialog boxes -- uncomment the next line to try it out
# 0, 0, 0, "0000", * = 10/11/"Custom Aspect", *, *, *, *, *
# rule to make red raw files available as Rec709
# with Gamma encoded 32bit float data
*, *, *, "R3D ", * ~ *, *, *, *, "r7hf", 0

Create DVD menu in Photoshop - font show pixels

I googled and search this forum and feel not help me at all.
I created DVD menu in photoshop (CS4) for DVD Studio Pro 4. I selected Film & Video NTSC DV widescreen(SD). Export file as .tif. Create DVD. Font look pixel on HDTV. Is there a way to improve menu looks for HDTV even DVD final output is SD 16:9? Is there guideline?

When you go into Photoshop, make sure that you select a high def alternative to create your menu, not SD.
Create a new file, select Film and Video and look in the list for HDV 1080p or HDTV 1080p as a start point. If you use anything else, you won't get the resolution that you need for HD.

Do mino/mimo cameras work with imovie hd?

just wondering if anyone has used one of those flip cameras with imovie hd

Yup, you can certainly use an HDV camcorder with iMovie ..but importing HDV is painfully slow unless you have a very fast Mac. I traded up to a quad G5 because I just couldn't bear the tedious 2x or 4x real-time import sloth..
Once the footage is in iMovie HD, it can be edited as simply as any other footage, though it takes up more filespace than normal DV, and renders take a little longer (..transitions, titles, effects, etc..) as they're being applied to frames with 4x the detail in them!
HOWEVER, burning an HDV movie to Standard Definition discs with iDVD creates - in my opinion - very poor DVDs. The quality drops off, of course, but also looks - to me - worse than ordinary non-hi-def recordings.
HDV on an HDTV is terrific. HD from an HD player into an HDTV should be terrific. I haven't yet used DVD Studio Pro to burn a hi-def DVD, as I haven't yet got an HD burner, so I can't comment on that.
So, all in all:
(a) The camcorders give a wonderfully detailed picture.
(b) The HDTVs ditto.
(c) iMovie can edit the footage - but the faster the Mac the better.
(d) iDVD cannot - yet - burn the footage as HD, and its compression from the Apple 'Intermediate Codec' (..used automatically while editing HDV within iMovie..) to Standard Def is (..in my opinion..) extremely unsatisfying, and makes a mockery of using HDV ..although, of course, you (..I..) can shoot now in HDV and burn later in HD when suitable software and hardware arrives.
I hope this isn't too discouraging! HD is the way to go ..but not all the bits are there yet..

HDV mixed format editing and mastering for broadcast TV

Hi
I have HDV blues with regards mixed format and multi time base.
Any help advice will be greatly appreciated.
I have never handled HDV in multiformat and multiple timebase to Mater and output for Broadcast television.
I am hoping to master to DVD directly on the configuration ( details provided below ) to deliver to NTSC and PAL market for DVD retail.
However I would need to take to a post house, one or more quicktime file to Output to Digital Betacam for television broadcast for both NTSC and PAL formats.
with regards
problems I am facing are on two fronts:
1) I am unsure of best quality and workflow to output master on Digital Betacam tape for broadcast TV in NTSC and PAL both formats.
2) With sequence set at HDV 1080 50i, and export setting as current setting, upon render and export of self contained quicktime direct from FCP timeline I face few troubling symptoms;
- that the quicktime exports 3mins to 35 minutes of qt clip but not the whole program of 90 minutes as one clip. System crashes and I have to reboot.
- Another symptom is that by doing above my time line shows aduio as out of sync to video. here i see that Audio tracks A1,A2 as being torn apart at cut edit points and have gap of 1 frame at random ( but not on all edit points ).
A3, A4 and other music and sound fx tracks have slipped off sync by few frames , again at random and also other places the edit comes back in sync with audio.
- Of course I am having to re- render this sequence timeline a zillion times even though the previously rendered files still exist in relevant folder.
Program duration: 90 minutes
current sequence : 1440 x 1080 at 50i
edit sequence time-line consists following source material directly ingested from tape via firewire in native HDV and DV:
VIDEO
-HDV footage of 1440 x 1080, 50i
-HDV footage of 1440 x 1080, 60i
-PAL footage standard and widescreen
-NTSC footage standard and widescreen
- still images
AUDIO
-AUDIO is 16 bits , 48Khz
- Voice Over is 24 bit , 48 Khz
Software: Final Cut Pro version 6
QT: 7.4.1
System configuration:
1) Mackbook pro: OS 10.4.11
graphics/ display card: GeForce 8600M GT
Hardware Overview:
Model Name: MacBook Pro
monitor: one apple cinema display 23 inch
Model Identifier: MacBookPro3,1
Processor Name: Intel Core 2 Duo
Processor Speed: 2.4 GHz
Number Of Processors: 1
Total Number Of Cores: 2
L2 Cache (per processor): 4 MB
Memory: 4 GB
Bus Speed: 800 MHz
2) Mac pro: dual core, 2.3 ghz, 3GB RAM
two apple cinema display 23 inch
All project media residing in 1TB Lacie 800 firewire external disk.

Hi guys, thanks for getting back to me. My client has now changed her mind and so I'm just mixing XDCAM and HDV 16:9 footage which is absolutely fine. Awesome. Thanks for your help!
I have one issue - some of the XDCAM footage she has given me is .MP4 video (actually each clip is a folder with 5 files in it (.MP4, .SMI, .PPN, .XML, .BIM). Do I have to convert the .MP4 into .MOV via Compressor to work with it (presumably this will compress it somewhat) or can I convert it simply and losslessly somehow (perhaps using sony XDCAM software?)
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HDV - 1080i50 equals size in Photoshop of DVCPRHD 1080p or HDTV 1080p ??

Hi, I'd like to create a graphic in Photoshop which matches the dimensions (width and length) of a HDV - 1080i50 sequence...which Photoshop default do I use? DVCPRHD 1080p or HDTV 1080p ??
What is the difference?
Thanks

HDTV 1080p.

Preview HDV on HDTV

Question, if you have two video cards installed, can FCP5 edit on one and output the full res previews onto the second card so one could be connected to my LCD monitor and the second connected to my HDTV so I could preview what the video was looking like, my HDTV support 1080i, so it would be nice to see what my HDV video looks like at full res as my 19" LCD monitor only does 1280x1024.
If its possible, what card would you recommend? I currently have whatever stock card comes with the older dual 2G G5 PowerMac. I think its one of the NVIDIA cards.
Thanks!
PowerMac G5 DP 2.0 GHz Mac OS X (10.4.3)

FW800 can't stream full uncompressed HD video, which is what the HDTV needs. You need an HDMI connection. You're going to need an AJA Knoa LHi or some other such card. You may want to look into a less expensive option such as the MXO2 if you only want to see the image on an HDTV and not on a qualified Production Monitor.
Going from FCP back to the deck is a totally different issue and not a problem. HDV is highly compressed so it can stream via FW connection. FCP using the Print To Tape function will take your Sequence and send a native HDV signal back to your deck, just when it captured from the deck.
HDTV will not be good enough for evaluating image quality and color correction, FYI. It will only give you an idea of what your vide will look like on that specific brand and model of HDTV.
DVI and VGA have nothing to do with what you're trying to do. They are only for going out to a computer monitor (not the same as a TV) or a projection system.

Viewing HDV sequence / media on Broadcast Monitor?

Is it / or is it not possible to view a HDV sequence or media on Broadcast Monitor via a Firewire Device such as a HDV camcorder?
If so great, if not, what are my options and how can I achieve this?
VV URGENT
Thanks in advance.

I had the opportunity to play around with a Sony HDV camera and FCP yesterday. I got the HDV camera's LCD to display media playing on the Timeline and in the Viewer [after changing prefs in Audio & Video Settings > Playback Output > DV-PAL]. From there I did get the audio signal to loop from the camera through to the broadcast monitor, but unfortunately not the video signal [as you both have stated].
So basically what you are both saying / and what I seem to have confirmed, is that I can not check my work on a broadcast monitor when using HDV without an I/O card?
For those of us without an I/O card, we still have fields, saturation restrictions, flickering graphics etc etc to check that will not show up on a Digital Cinema Desktop Preview. I just don't understand why we can not preview this prosumer [HDV] format on a broadcast monitor without purchasing an I/O card??
It would be greatly appreciated if you guys could please respond / correct me if I am wrong.
Thanks again for your time.
G5 DP 2GHz / OS X 10.4.2, 1 GB Ram Mac OS X (10.4.2)
G5 DP 2GHz / OS X 10.4.2, 1 GB Ram Mac OS X (10.4.2)
G5 DP 2GHz / OS X 10.4.2, 1 GB Ram Mac OS X (10.4.2)

Fonts for HDTV Broadcast Design in Australia (PAL)

Hello again everyone,
I am researching deeper into the topic of Broadcast Design, specifically for HD & SD Digital TV in Australia. I want to use Photoshop to produce a graphic for HDTV(1920 * 1080)and then import it into Final Cut Pro HD to composite over some HD footage. I would like to know more about what fonts to use and why they work best for Broadcast Design. Can any pros out there working in this field offer some expert suggestions?
Regards,
Justin Pamenter

Historically, bold non serif fonts work best with PAL or NTSC. I'd imagine that you can fudge that a bit with the higher resolution of HD though.
I'd suggest a try it and see approach.
Jerry

Can't preview 1920x1080 timeline on HDTV via Sony HDV deck - help!

I am trying to play back from my 1920x1080 HDTV timeline (from FCP on MacBook) on an LG HDTV by connecting to a Sony HDV deck via firewire 800, and then going out from the deck via component to the tv – however, I am having problems not being able to get a clean video signal & it seems that the deck cannot process the video stream properly. After scouring the internet and various forums, the only conclusion that I can reach is that because the HD video needs to be processed, it is impossible to properly view the footage back via this method without something like a Blackmagic Decklink card/conversion syste. This is quite a big problem for me, as I will probably in the future have to use the same method just to play out to tape (on the HDV deck) and no matter what settings I have tried, it just doesn't want to work!
Any hints or tips to bypass this without the need for any other external hardware? Would something like a Mini DVI to VGA Adapter Cable help at all – we have one of those.

FW800 can't stream full uncompressed HD video, which is what the HDTV needs. You need an HDMI connection. You're going to need an AJA Knoa LHi or some other such card. You may want to look into a less expensive option such as the MXO2 if you only want to see the image on an HDTV and not on a qualified Production Monitor.
Going from FCP back to the deck is a totally different issue and not a problem. HDV is highly compressed so it can stream via FW connection. FCP using the Print To Tape function will take your Sequence and send a native HDV signal back to your deck, just when it captured from the deck.
HDTV will not be good enough for evaluating image quality and color correction, FYI. It will only give you an idea of what your vide will look like on that specific brand and model of HDTV.
DVI and VGA have nothing to do with what you're trying to do. They are only for going out to a computer monitor (not the same as a TV) or a projection system.

Broadcast safe destroys my HDV clip??

I am color correcting a feature shot on HDV and came to a clip that looked really bad finally turned off broadcast safe and the clip looks fine. Anyone know of a solution? I will need this project to be broadcast safe.
Thanks, Mark

Not to disagree at any level, but I find I use the Broadcast safe checkbox as a rule - just to provide a safety clamp that obviates the need to use our HD legalizer, which I think is a bit noisy. Of course it's not a grading tool as such - the whites always need to be assessed and levelled - but it means I can drive them a bit harder on occasion knowing I won't overshoot. The effect on a properly graded image should be imperceptible.
If on the other hand, an unclipped image "looks right", and a "safe" image looks horribly clipped, it's a sure sign that monitoring etc is going all the way to IRE109 - a very bad look.

Watching HDV content on computer and/or HDTV

What are the options for watching HDV projects that are stored on the computer? Obviously the new AppleTV box will be one option. What exactly does the Matrox box do? And how do these options compare to simply playing an FCP project from the timeline on a suitable computer?
I say "suitable" because I am still editing with a dark ages G4 Powerbook which does surprisingly well with HDV in Final Cut, but is not quite fast enough to play back HD material without skipping some frames resultng in jumpy video.
So what are the best solutions? (Obviously printing back to tape and playing to an HDTV from the camcorder works very well, but is time consuming. I am eager to be able to play good quality video direct from a computer.
Comments?
- Tom

Well, since you have an older G4 (does it have DVI out?) the only option you have is the Matrox MXO. If you have the DVI out that is.
What the Matrox box does, rather nicely, is extract the information coming out of the DVI connection, YUV, Audio, timecode...and convert it into SDI (HD SDI), component and composite signals. AND...I love this...AND...it sends a signal to an Apple 23" display that is color accurate. With the MXO and the Apple monitor you can color correct...or simply see a true representation of what your footage looks like.
I saw this in action at MacWorld and was REALLY impressed. And I will be gettig a unit to play with in a week.
Shane

Shooting in HDV, Broadcast from Beta - what captrue codec?

Hi know similar questions are regularly asked but I couldn't find one for this particular set of circumstances...
We're shooting in HDV and will supply to the network uncompressed Quicktimes that they will put onto Beta for broadcast. It's likely the show will be released on DVD at some point too.
Is there any advantage to capturing using prores, or should I stay in HDV?
Have I read correctly I can't batch capture if I go with prores?
Kind regards
Hugh
ps - the specs below are my home mac - we'll be using FCP6 on a 2.8Ghz Intel Mac Pro with 10gig ram

Is there any advantage to capturing using prores, or should I stay in HDV?
Less load on your computer processors, rendering takes far less time, because you are in an I-Frame format and not a GOP format.
Your footage is now in a 4:2:2 color space for color correction, not 4:2:0 which falls apart fast.
Disadvantage? ProRes takes up more space.
Have I read correctly I can't batch capture if I go with prores?
Not unless you have a capture card....with a capture card that is very possible. Without it the only way you can capture HDV as ProRes is this way:
http://library.creativecow.net/articles/poisson_chris/hdv-prores.php
Shane

Second Graphics Card for HDTV Output + HDV Live Preview

Hi guys,
I have a few questions about hardware and Premiere Pro CS5. I am using Windows 7 x64 with a Dual DVI nVidia GeForce 7950GT which is outputting to two DVI LCD monitors. I want to install a second graphics card so I can look at the main preview window in Premiere on my HD LCD TV and would like to know what the best plan of attack is. Also, I want to be able to preview my HDV captures on my HDTV as relying on the 2.5" LCD on my Sony HVR is not eye-friendly!
I am thinking about either selling the 7950GT and buying a GeForce 470GTX which has 2 dvi and 1 mini-hdmi, or, keeping the 7950 and buying a cheapish 2nd graphics card to just use for the HDTV. What do you guys think is the best option?
This is the graphics card I am thinking of getting ( http://www.asus.com/product.aspx?P_ID=hs87bcOLPd9irXRk&templete=2 ) an ASUS ENGTX470 / 2DI / 1280 MD5, my server can just handle it's power requirements, but I am happy to upgrade the power supply if this card will ouput to 2 DVI monitors and also to a HD TV with a mini-HDMI to HDMI adapter. An Antec 1000w power supply is only about $225!
Or, I can take the cheap option and get an NVIDIA Quadro FX 580 by Leadtek( http://www.leadtek.com/eng/workstation_graphics/overview.asp?lineid=2&pronameid=491&check= f ) which is a cheapy with 2 HDMI and 1 DVI. I guess there are other PCI-X graphics cards out there to choose from which are probably fine, but it would be awesome to know what some of you guys are using.
Surely there are others out there that already have a dual monitor setup with a third LCD TV for previewing?
Anyhelp would be much appreciated!

@Harm: Thanks for that, I thought a card with three outputs would be too good to be true. I think I will buy a much cheaper 2nd PCI-X graphics card and just use its HDMI output for the HDTV. We will be doing a complete overhaul of this machine sometime in the future and I will buy an awesome graphics card with power supply to boot then.
@J-MS: Currently we are moving away from a Matrox Axio HD as their support for Windows 7 and CS5 has been lackluster, and I don't reward companies that provide zero or no support with future business. I would rather be free of a third-parties proprietary codecs, plugin and decoders.
@Thrill: Thanks for the link to that post, I read through it and it looks like I need to get a second card that is the same make as the existing card (ie. nVidia), which is what Harm was saying. When I capture from the tape deck, the capture preview window in Premiere goes blue and says in 5 different languages that the preview is going to show on the input device, or words to that effect. I am therefore looking at a 2.5" lcd for capturing! fail. I don't know why that is happening now to be honest, maybe it was because I was in a Matrox HD sequence before and the input device wasn't set correctly? I will double-check it again and see what the deal is.
I am very tempted to just get an el-cheapo nVidia 8400GS Turbo Cache 512M DDR3 DVI HDMI which is only $39!!!! It has HDMI and is small and has a very low power drain on the system. If it outputs to the HDTV then that's all I need, if it doesn't, I sell it on ebay for $25 and lose $14, big deal.

HDV to Broadcast HDTV

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