Ingesting HDV and AVCHD in same project - workflow?

Whats the workflow with ingesting HDV and AVCHD into same project? Im guessing convert both to 'Apple intermediate codec' i think this is straightforward for avchd as is in prefs pane of log and transfer, but how do i do this for hdv?
Also set the avchd to record at 1080i or does it not make much difference once captured / pro ressed up.?

Bring both in as ProRes. Much more processor efficient.

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HDV and DVCAM in same timeline???

I am working with HDV and DVCAM in the same timeline. It is a HDV sequence so when I drop all the DVCAM footage on it is small. Well I just took the scale to 225 and it seems to look ok. Not HD good, but not all artifacted either. Is their a better way to do this (or supposed to do this)? I am also just wandering if I am violating some format law or something too?
Thanks a bunch

Final Cut Pro can't mix formats and resolution in the same timeline. You'll probably have to pick one and either downrez or upscale but of course the upscale won't look good at all. Search the forum as this is a common topic.

Mixing HDV and AVCHD

I have a camera that captures in HDV but i am looking into purchasing a camera that captures in AVCHD.
Final Cut Express converts them to apple intermediate format but in order to edit in one sequence would this require additional transcoding??
Would i be able to use the HDV 1080i format when ingesting the AVCHD file?

As long as you shoot them in the same frame size, same frame rate, and edit them both in a 1440x1080i60 sequence then you won't have to render either of them. Editing them together should work fine as they've essentially been converted to Apple Intermediate Codec files which are indistinguishable.

SD and HD in same project

Can you use HD and SD clips in the same FCP project?
More like ... can I use HD image and use the SD audio format from a Panasonic HVX 200?

David,
As I said. I understand that SD is always going to be SD.
My question:
Will changing SD to HD make SD any worse.
Why would you want to reduce the HD footage to SD quality rather than keeping the HD at full-rez and uprezing the SD?
If your final output is anything better than SD then at least you'd be retaining the image quality of the HD stuff.
Even if the final product is SD DVD wouldn't the SD footage look the same regardless of which approach was chosen?
Personally I'd rather handle the uprez myself at the software level rather than letting someone's cheap 42 inch LCD do the uprez and de-interlacing for me. My experience is that SD footage looks pretty horrible on anything larger than a 32" TV.
Hopefully BluRay delivery will become less of a dark art very soon.
There are boatloads of very expensive SD cameras out there that aren't going to simply be put in the trash.
I suspect that during the next year or two this is going to be a very topical and valid discussion.
The heading for this thread is a little misleading so I'm sort of off topic. Maybe I'll just bring this up again on another thread.
g

FCPX Mixed Frame Rates? 30fps AND 24fps in same project?

Just got done doing a multicam shoot for a large event where I had multiple people helping me out. We all shot at 1080p on a variety of Canon DSLR cameras and a Go Pro and a MiniDV Consumer Cam. I thought everyone got the memo to shoot at 30fps, and most everyone did, however one of my Canon cameras shot at 24fps. I know I've heard in the past mixing frame rates can cause issue in other programs, and I know FCPX can handle multiple frame rates, but what sort of trouble am I in for if I want to use footage from cameras using 30fps and a camera using 24fps in the same final product? Is the 24fps stuff going to choppy or weird if I use it in a 30fps sequence/project? My final deliverable at this point can be 30fps or 24fps, it is not stated and I want to make sure evrything looks good so what should I set my project settings for? Any ideas?

Ah - no - conforming simply resets the frame rate information. You should re-conform it back to 29.97...
Here's what I think you'll need to do. If the majority of your material is at 23.98, make your main sequence that. Cut everything at that 23.98 - you'll have to render any 29.97 material then, but when you've locked picture, look at the sections with 29.97 stuff and if it looks okay, just skip to making the DVD. If it doesn't, you'll have to insert a pulldown by exporting your sequence then bringing the quicktime back in, adding a pulldown with Shake ($500) or Nattress frame rate converter ($99) - OR try this - edit it to tape and a pulldown will be inserted, then recapture.
Once you have a 29.97 version of your clip, cut it into a 29.97 sequence and re-cut in the 29.97 material (now you won't need to render). Then export for your DVD.
Now - after all this, are you sure that your 30fps material is NOT 29.97 with a pulldown? Did you check this yet?
Patrick

HDV or AVCHD editing = processor utilization = import/exp. quality loss

Hello,
my question about processability of HDV/AVCHD Movies with iMovie. I have learned that HDV and AVCHD files are transfered in the AIC format. That should mean editig a movie would be always in the AIC format and I assume no difference whether I come from HDV or AVCHD format it should be similar demanding to the core2duo processor except initial transcoding from H264 to AIC - is this right?. When I save a movie out of iMovie do I save it in AIC or in HDV/AVCHD? Is there a quality loss transferring a movie back and forth from/to HDV/AVCHD to AIC since HDV employs mpeg2 and AVCHD employs H264 which are both compressed formats? Practically does this also mean that AIC can work as a bridge to between both formats?
Thanks for your replies to my several questions!

I have cut/pasted this from another thread where I posted it following a question from a Canon HV20 owner. The info applies to all HDV and AVCHD cams though. Might help you decide.
This comes from www.camcorderinfo.com
Compression (7.0)
The Canon HV20 (Review, Specs, Recent News, $903) uses HDV compression, a very efficient MPEG-2 codec with a fixed data rate of 25Mbps, identical to the data rate of standard definition DV compression. HDV excels in capturing stunningly high-resolution video, but it is inferior to DV in terms of rendering motion realistically, due to its dependence on interframe compression. This means that at 1080i, only one in fifteen frames is a full-frame picture, while the intervening frames are compressed in relation to each full I frame. Interframe compression is much more efficient than intraframe compression, and allows HDV to squeeze a full 1920 x 1080 picture into a 25Mbps stream, recordable to inexpensive MiniDV tapes. DV uses intraframe compression, so each frame is a fully independent picture, allowing much better motion capture. DV also uses a superior 4:1:1 color space while HDV encodes via a truncated 4:2:0 color space.
The inherent weaknesses of HDV have led many networks to deem the format sub-standard for broadcast, but it is still the best high definition format available on the consumer camcorder market. Most consumers find the stunning resolution of HDV trumps the superior motion handling of DV. A professionally lit HDV interview (or any HDV shot without too much detail or motion) can look nearly as good as footage shot in a professional HD format on a $20,000 camera. AVCHD, a new HD format that uses H.264 compression was introduced in 2006 and compresses video even more aggressively than HDV. Our tests of Canon's UX1 (Review, Specs, Recent News, $729.95) and SR1 (Review, Specs, Recent News, $1119.99) last fall show that while AVCHD video is very sharp, it suffers from grain and artifacts much more than HDV compression. The wildcard in the consumer high definition arena is a new MPEG-2 format developed by JVC, the MPEG Transfer Stream codec, which appears for the first time in the Everio HD7 (Review, Specs, Recent News, $1529). MPEG Transport Stream compresses video at up to 30Mbps, and may rival or even outclass HDV compression.
Media (6.0)
Like other HDV camcorders, the Canon HV20 records to MiniDV cassettes, the same inexpensive and widely available format used by standard definition DV camcorders. MiniDV cassettes have a run time of 60 minutes in SP mode, but can hold up to 90 minutes of more compressed LP video. Unlike the DVD, memory card, and HDD formats, MiniDV tapes are linear media so moving clips to a PC from tape is a real-time process. For anyone serious about the quality of his or her video, HDV recorded to MiniDV cassette remains the best consumer HD option available. To date, consumer non-linear video formats do not support the highest-quality video compression codices for high definition (HDV) and standard definition (DV).

Do HDV or AVCHD keep track of Date/Time like miniDV?

Do HDV and AVCHD have the time and date stored like miniDV does? I've done some searching and read through the HDV article on wikipedia and don't see this mentioned.
Thanks.

Anyone with any more info on this? According to what Tominlowa says it looks like the date/time info is stored on the AVCHD camera either in the video file or accompanying index files. I wonder how this works with HDV? Maybe I should be keeping manual logs when I shoot footage so years from now I will know what the date of my footage is.
Thanks.

Is it possible to import both HDV and SD(shot in 16x9 format) in the same imovie 11 project? If so, how, please.

I am trying to combine both HDV and SD video in the same project and iMovie 11 doesn't want to accept the two different types of files at the import stage. Help please.

You need to import the footage into iMovie Events. Once they are in an event (or multiple events) you can drag these clips into an iMovie Project and mix them together.

How to work on the same project on two machines at the same time and also exchange progress seamlessly using Adobe Premiere Pro CC 2014?

We are working on a film project on Adobe Premiere Pro CC 2014. Two editors are working on the same film project (same pproj file ) on two machines. As a result the bin structure and the file structure is exactly the same. We even bought two licenses for the respective machines to make matters simple (at least we thought it would).
Now when we share a sequence between the two machines, every time we have to import and re-link media. Also each sequence import comes with its own set of files, which are actually already present in the project. Basically the new sequences are looking to re-link the media to the original/ source files only and are completely ignoring the file structure present in the project.
In all editing softwares, timeline/ sequence sharing is a very common practise when working on multiple machines. Why is it so tedious in CC 2014? Every time we share a sequence between the two machines the media gets doubled and tripled in the project. As a result the project file size is increasing perpetually. Already Premiere CC 2014 is extremely laggy and slow, and this stupid bug is making it more difficult for us to finish our work on time.
Has anybody ever faced this issue? How do we solve it? We are willing to try out any workflow that you can suggest.

Concurrently working on the same project it requires a specific implementation in all editing programs like Avid's Unity/ ISIS shared storage. That's what you are simply not considering. none of your issues would be any problem if your projects resided on a commonly accessed server or something like that. Check respective hardware solutions.
Mylenium

What's the fastest way to edit SD and HD in the same project?

Hi,
I'm running the latest version of FCP2 on the latest OS and I have dailies in both SD and HD that need to be cut into the same project. The HDV dailies are 1080p 23.98. We will be finishing in HD but that doesn't concern me because we're finishing this on a Flame. I have worked in SD and I've worked with HDV but always separately, never in the same project. I know that Apple ProRes settings are supposed to allow you to work in both in one project, however, I don't want to have to render every 5 seconds. Does that happen? OR will it allow me to play a cut straight down with no errors with both SD and HD footage in the same sequence?

I am going to kindly ask that you ignore what David is saying. The information he has given you to this point is incorrect.
You can capture HDV as SD. The camera or deck you are using will have an option to output the footage as DV. Mind you DV doesn't look as good as HD, and if your intent is an HD master, this would not be the way to go. Capture HDV as HDV...or heck, you can even capture it as ProRes via firewire:
http://library.creativecow.net/articles/poisson_chris/hdv-prores.php
Just changing the settings to PRORES doesn't mean that you can now edit everything together. ProREs is a codec, just like DV and HDV. You can have your timeline set up to render HDV AS ProRes, but not sure what that does when you mix in SD on the same timeline.
Anyway, FCP is perfectly capable of mixing formats without rendering if you are running FCP 6. You will need faster drives for this than the normal firewire 400. And with HDV, you would be wise to use an Intel Mac, as HDV requires a bit of processing power. While I have been able to mix formats with my G5, I get a bright green render bar as opposed to a dark green bar on my MacPro.
OK, David did give one piece of true advice. You would be better off converting SD to HD before you edit. Or at least after you have locked picture (so you don't have to convert TOO much). Compressor does a really good job, and if you are capturing your HDV as ProRes, then upconverting the SD to ProREs will look fine. SD as HDV...ugh, I don't want to think about that.
Mind you, ProREs requires raided drives. DV is 3.6MB/s, and ProRes standard is 15MB/s...4 times that of DV. A raided FW800 drive like the G-Raid would be the lowest you could go, but I wouldn't count much on mixing formats with that. either an internal RAID (MacPro) or external eSATA Raid or mini SAS would be better. I like the CalDigit S2VR Duos...and this great desktop drive from MaxxDigital. SOnnet has good models...
Shane

Workflow for using proxies and AVCHD

I'm working on a 6 camera mulitcam project of a theatrical performance and I'm using Premiere CC. The footage is all spanned AVCHD from Canon Vixia's. My machine is pretty good but no way is it going to play 6 streams of AVCHD at once (I've done 4 and that was pushing it!).
I've done a little searching on the forum and found this post:
http://forums.adobe.com/message/4877276#4877276
In particular, Fuzzy says:
The workaround is the following:
- create a folder for your proxies next to the folder containing original footages and name it e.g. AVCHD.Proxies;
- transcode your MTS files into MPEG2 ones with the same file names and MTS file extention (or run Batch Rename in Bridge after transcoding with MPG file extention);
- close your PrPro project, created out of original MTS files;
- temporarily rename AVCHD folder containing original MTS files to e.g. AVCHD.Sources and AVCHD.Proxies to AVCHD;
- open up PrPro project and enjoy: all your original AVCHD files are now linked to MPEG2 proxies.
When you're done, reverse rename folders.
This idea appeals to me but I've got a question. My files are all spanned AVCHD. It seems, in his example, that each .mts has a corresponding mpeg2. With my spanned clips, how will Premiere know how to put them together properly? I don't really mind if there is a one frame drop between the mpeg2 clips but will this majorly screw things up when I swap the proxy footage out?
Is there a better way to do things now, one year on?
Thanks in advance!

Hmmmm... still having problems.
I got back to work this morning (having spent most of the weekend and yesterday raking leaves) to find that all of the mts have successfully been transcoded into mpg clips. I added a new STREAM folder, moved the clips and changed the file extension to .mts. So far so good.
I decided not to stitch the spanned mts clips first because I'm on a Mac and I haven't found a good (free) stitcher. I have a nice Windows one that I like but i didn't have the time to move the clips to a Windows machine, stitch them and then move them back again. This may still need to be done because I'm faced with a new problem.
When I go into Premiere and try to import the mpg clips (now hiding under the .mts extension) I get the error "The file has an unsupported compression type". This happens if I use the regular import OR the Media Browser.
Any ideas? I compressed these in AME using the default "Match Source - Medium Bitrate". I used the H.264 format, not the MPEG2 format thinking that Macs like H.264 but I wonder if this is the problem
Thanks for everything, by the way. You've been more than helpful

Can an editor and I work on the same project, at the same time in PPCC?

I'm trying to figure out if two people can edit a project in live time... I'm currently struggling with the 20gb cloud limit for my projects and I think I'm just going to bring an in house editor into the mix.
Can he and I edit the same project from a NAS drive?
---Trav

As far as I know, "regular" Premiere Pro does not have any provision for the kind of file locking/unlocking required for 2 people to edit the same project... so if YOU save an edit and your other person saves after you, your edit is going to be overwritten and lost
Solution for networks...
Adobe Anywhere http://www.adobe.com/products/adobeanywhere.html
http://www.creativeimpatience.com/adobe-anywhere-enterprise-solution/

How do I set two different beat measures in the same project, e.g. 2/4 and 3/4?

How do I set two different beat measures in the same project, e.g. 2/4 and 3/4?

mpcsouza wrote:
How do I set two different beat measures in the same project, e.g. 2/4 and 3/4?
you can't, GB is restricted to a single time signature per project
however, the time sig is really more cosmetic, it doesn't affect the way the project plays back, so you could set the project to 2/4 when working on the 2/4 parts, and 3/4 when working on the 3/4 parts

I would like to import two different cf cards from two different cameras into the same project/folder and have them be in order of the times they were taken, is there a trick?

I would like to import two different cf cards from two different cameras into the same project/folder and have them be in the order of the times they were taken, any ideas on how to do this?

Just import them normally and sort the project by date. They will fall into place. If you tried this and it isn;t happening then make sure the data and times on the two cameras are identical and make sure you are sorting by date and time and nothing else.

I would like to save footage to a hard drive and stiill be able ot edit the footage. I would like to reuse the cards on the same project. Is this a sensible option. Camera JVC GY-HM100

Hello I wonder if anyone would be able to help.
I have a JVC GY-HM100. I have footage from a ongoing project saved on SDHC cards. I want to save money by reusing the cards while i carry on working on the same project. I wondered if I could save the footage from the SDHC card too a hard drive ; delete the footage from the cards and reuse them. would i still be able to edit the footage stored on the hard drive alongside the footage which will be imported straight from the camera.. I have heard that this camera works well with final cut pro but if the info is saved to a hard drive first and subsequent footage is straight from the camra and SDHC cards will it work or is it a false economy to reuse the cards.
Hope that makes sense
Lindabob

"I wondered if I could save the footage from the SDHC card too a hard drive"
Yes.
"delete the footage from the cards and reuse them."
Yes.
"would i still be able to edit the footage stored on the hard drive alongside the footage which will be imported straight from the camera.."
What program are you using to edit? If Final Cut Pro there is an entire forum with FCP experts who can guide you:
https://discussions.apple.com/community/professional_applications/final_cut_pro_ x

Ingesting HDV and AVCHD in same project - workflow?

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