JVC HD-100 24P CODEC

Is there any information on when FCP will upgrade FCP to recognize the 24P mode on the JVC HD-100?

nobody knows

Similar Messages

100% audio codec usage

I've noticed that powertop2 shows two entries for "audio codec". One seems to be my actual audio out and one is just 100% active. I've got laptop-mode instaled with all possible powr savings turned on. The laptop is lenovo thinkpad t410.
That's what powertop2 shows:
100,0% Audio codec hwC0D0: Conexant (exaile )
100,0% Audio codec hwC0D1: Conexant
The first entry goes 0% when nothing plays any sound and even shows some application info.
The second entry is justalways 100%.
That's my `lspci | grep Audio`.
00:1b.0 Audio device: Intel Corporation 5 Series/3400 Series Chipset High Definition Audio (rev 06)
01:00.1 Audio device: nVidia Corporation High Definition Audio Controller (rev a1)
So, there is an extra audio controller that does not seem to do anyting. In xfce mixer it is just a couple of "IEC 958" checkboxes.
So:
- Should I be bothered with that 100% active codec? My laptop battery seems to be dying (my laptop lasts ~1.5 hours on battery now) and I'm trying to minimize power usage.
- What can I do tho those 100%?

Disabling the relevant kernel modules should help.
Check
lsmod | grep snd
and rmmod + blacklist.
But I'm not sure about this...
Last edited by lolilolicon (2011-10-22 16:23:04)

QTP can't read .mp4 files from JVC HM-100 cam...

My QTP gives me the following message when I try to open an .mp4 file created with a JVC HM-100 camera: "The movie could not be opened. The movie contains some invalid data."
VLC and iSkysoft (video converter) can read the file with no problem, so it can't be corrupt. I put a similar post in a thread about the JVC cam, but no one knew a solution.
Right now, it looks like the only way to convert the mp4 files from the JVC HM-100 is to buy a video converter software for $50 because QuicktimePro, which cost me $30, can't do this, even though it claims to support mp4. Any ideas here?
So in lieu of QTP, are video converters like iSkySoft reliable enough to use? Do I risk losing any quality? Am I forced to pay for 3rd party functionality again that I already paid for in QTP?
Thanks... David

Problem solved.
I used the FREE software ffmpegX to convert the mp4 files.
So why does FREE software do the job that PAY software like QTP promises to do, but can't deliver?
Hmmm?
David

Audio drop-out in FCPX with 1920x1080 & 2048x1240p @ 24p (codec Apple ProRes 4444 (Linear PCM))24p

Hi all...
I'm new to this forum.
Is there an audio issue (drop-outs) with FCPX (ver 10.1.2) for 1920x1080 24p, 1080p HD & 2048x1240 24p (2k) - note: films in FCPX are in codec Apple ProRes 4444, Linear PCM?
Very recently I've been working on a show reel and I have imported a file (short film) to snip out a section to add to the show reel.
I set the project to the film's settings i.e.. "set based on first video clip"...(1920x1080 24p, 1080p HD). When I play the film in FCPX the audio "hic-cups"..."dips to silence"..."drops-out" briefly (up to 0.5 secs in duration) and very frequently all the way through (approx 15 mins long film)...note: audio set is at stereo 48kHz. The audio monitors on the right hand side also show the dip taking place (if it's a long enough drop-out).
I also have a version of the film in 2048x1240 24p at 2k, again Stereo 48kHz...and this does the same audio "drop-out" all the way through. I'm unsure what other formats will create this problem i.e. higher or lower aspect ratios than those above.
Is this a software and/or OS issue? Or a hardware issue? Or both!?
About This iMac details:
iMac 27 inch: OS X ver 10.9.4
Processor: 3.5 GHz Intel Core i7
Memory: 32 GB 1600 MHz DDR3
Graphics: NVIDIA GeForce GTX 780M 4096 MB
Fusion Drive 3.12 TB
Final Cut Pro X was bought & installed with this iMac back in Feb 2014
FCPX version: 10.1.2
Note also: I used Compressor (ver 4.1.2) to convert the files (movies) above to Apple ProRes 422 HQ, Linear PCM and the issue disappeared - the audio and visuals played with no problems. All films play with no issue when opened in QT player. They are also fine when exporting from FCPX. The issue only occurs (as far as I can tell) within FCPX when editing or playing the audio there.
Has anyone encountered this problem?
Kind Regards,
Hakan

Hi Luis,
Thank you for that.
Seems like you have a point about the "hardware" issue. I'm unsure (new to it all) at what data rate my (er...wonderful) fusion drive provides FCPX for smooth playback - or where I can find that info on the iMac. Playing back movies in the 422 HQ codec seems to have no issues (when I converted the movie from 4444 HQ).
But playing the full 4444 HQ, the picture is smooth, but the audio has these drop-outs - even with "best performance" option ticked. Interesting that the audio suffers, not the picture in FCPX - so not sure what's going on there. I also read - perhaps - that to play a smooth ProRes 4444 HQ movie in FCPX the data rate should be min of 500 Mbs (based upon About Apple ProRes) for HD movies and up (i.e. 2k). ProRes 422 HQ needs a data rate of 220 Mbs - so that is my upper-limit to smooth video&audio playback with the current system I have, I guess.
Does anyone recommend a fast USB3 or Thunderbolt drive (500Mbs+) where I am able to run 4444HQ movies with no issues to picture or sound (away from the fusion drive)?
KR
H.

JVC HD111E 720/24p

I am considering now buying the below iMac with Final Cut Express 4
Will I need to upgrade the ram in order to edit with HD from my 720/24p video camera and will I see any difference in editing speed with a 2.6 and a 2.8 Ghz processor?
System to be purchased as standard below unless modifications are needed to accomodate my HD.
Intel Core 2 Duo Processor
2.8 GHz Processor Speed
2 GB Memory
320 GB Hard Drive
24'' Glossy Widescreen Display
Any in depth information will be greatly gratified. It will be my first Apple and I hope not to look back. I have always used a pc configuration for video editing with the Matrox RT-X10.
Many thanks to all who can place their valuable knowledge.

hey there Markopolo,
MacWorld Magazine has benchmarks & reviews for various Macs posted @ their site. FCE system requirements state a 1GB minimum for HD video, so you should get reasonable performance from 2GB RAM, but this will be contingent upon the FX, transitions, audio, etc... used in any particular video project.
good luck, enjoy your new iMac.

JVC GY HD 100, imported clips at double speed!

I am trying to import HDV 720p25 frames footage from JVC HD-100. the clips are imported -apparently- in a correct way, BUT when they are played back in the time line they run faster (twice the original speed)! I do not why this is happening, since in the preview window everything seems to be ok...I would love to work with FC5 (which I just bought) but it does not support 720p25, just 720p30. Any suggestion would be very welcome and it would make me feel less desperate!Thanks! ciao, Erica

JVC's early HD camcorder(s) didn't have an 'HDV' logo, as far as I remember, but used a kind of hi-def different from the method later used by Sony, and called 'HDV'.
The first versions of Final Cut Pro HD didn't, as far as I remember, capture some kinds of HD without, as you say, that third-party plug-in. However, I seem to remember that updates to the original release of FCP HD did enable built-in support for various kinds of HD ..including HDV. So perhaps your version of FCP 5 just needs to be updated, via a download, to the latest version ..check in the FCP Discussions.
iMovie HD may report 720p while capturing, because iMovie uses elements of QuickTime (..which may identify 720p..) and also uses an extra piece of software called Apple Intermediate Codec (..which converts HDV footage to an editable variety usable within iMovie HD).
So although part of the iMovie software may be able to identify your footage, it doesn't necessarily mean that it can work with it!
[..I can identify a diesel locomotive, but that doesn't mean that I know how to drive one..]
I don't know enough about JVC camcorders, especially their early HD ones (..which Adam Wilt mentions in his third paragraph here..) to be able to comment further ..except to say that I use HDV at 1080interleaved and haven't tried importing 'progressive' footage into either iMovie HD nor FCP HD. Sorry.

5.1 Universal and JVC-HD100

Does the 5.1 crossgrade from final cut studio 5.0.4 fix the problems with capture using the JVC HD-100? I hear at NAB that they were demonstrating the 24p capture with the HD-100 and that it was a 5.1 version. Is this the same version or an update to follow?
Thanks
Yooch

You've always been able to capture 720p30 from this camera. 24P support is forthcoming. Apple at NAB was demoing FCP working with JVC at 24p, and the Canon at 24f...but those were versions that haven't been released yet.
And Apple's comment to when they will be?
"Soon."
Shane

24p Back to Tape; LP or DVD?

Hi,
I am trying to output my DVX-100 24p advanced footage back to miniDV tape. Since the footage was imported into my sequence removing advanced pulldown, is there a way for Final Cut Pro to reinsert the flagged frames onto miniDV tape properly?
Also, if given a choice to project my film onto a theater screen using LP mode on a miniDV tape or DVD, which format would you choose for higher quality?
Any info much appreciated!
Alexander

I'm in the PAL world so don't have much experience with pulldown, but I believe you can add pulldown in a number of ways, either by dropping your 24p into a 29.97 sequence, or as an option when printing to video.
MiniDV at LP or DVD? Interesting question. I know LP doesn't look as SP but probably still a lot better - and less hassle - than DVD.
That said, you're probably going to output your movie to DVD anyway so...

JVC GY-HM100u clip corrupted on card. How to recover?

Hello all. Long time reader, first time poster. I think I have some corrupt footage, and I need help recovering it. Anyone have experience with this...?
I've been shooting on a JVC HM-100 for a month or two now; about 20 hours of footage in the can. All shot 1080x1920, 30p in .MOV format (not .MP4). Until now, on a Mac Pro with FCP installed, all of the .MOV files could easily be viewed in Quicktime Player, and could be dragged into FCP and were editable right away without rendering, etc. My workflow has been to 1) shoot on the SD card, 2) dump the entire contents of the SD card to a hard drive, DCIM and PRIVATE folders/file structure and all. Once the dump is complete, 3) I review the footage using QT player, and edit in FCP. I also use Compressor to create lo-fi .mp4 clips of all of my shots for sharing with others, laptop logging, etc.
Today was the first time I've encountered this: I shot about 30 minutes of footage, among five different clips. One of the clips isn't playable after transfer from the SD card. My first clue that something was wrong was when the MacOS/Finder created image thumbnails for four of the clips, but left the fifth one with the little default QT icon. The file still transferred with the filename, .mov extension, and the full file size (1.82 GB), but Quicktime won't play it. The QT error message says that the file "could not be opened. The movie is not in a format that QuickTime Player understands." I've tried to create a lo-fi version in Compressor, and compressor will not even accept the clip in the batch window, even though it will accept the other adjacent clips from the same card. I also attempted to drag the file into FCP, and receive the error message "File Error: Unknown file".
Here's what's strange: The entire clip plays back on the camera. It is a "part two" clip, meaning that the clip is the second half of another earlier clip that had reached it's maximum file size (a weakness of the whole solid-state SDHC recording media technology that I really hate, but that's another post). But I also had another two-part clip on the same card, and both of those transferred just fine. It's just this one that isn't readable by the computer, even though it still plays in the camera.
I used the copy feature in the camera to copy the contents of card A to card b, and then imported card b hoping that would help - same result.
Here's one other fact that may be relevant: at the conclusion of shooting this particular clip, I turned off the camera, changed batteries, and fired up again. I may or may not have "closed" the file before I turned off the camera. (the HM100 will let you stop/start recording multiple times and compile all of those shots into one clip/scene. The scene isn't "closed" until you push *and hold* the record button to stop recording.) I just did a test shot where I recorded, stopped, intentionally didn't close the file, and powered down and removed the battery. That clip still imported and played fine; apparently the JVC "closes" any open file before powering down.
So there's my saga. I guess I have two questions. 1) how can I recover this footage? and 2) What's your best theory on why this happened?
I hate to think that this camera might just drop entire sections of my footage at random. That's a HUGE deal. Imagine an event photographer whose HM100u decides to drop the wedding vows...
Thanks in advance!!
-Scott,
Houston, TX

David, thanks for your reply. I came back here to post an update, and I think you're right. I did some more sleuthing, and I think I'm a victim of the 4GB file size limitation that I'm just now learning about. Seems that the HM100u didn't correctly split a long continuous shots into multiple files.
For the benefit of others who stumble here with the same issue, here are the details.
Recall that the clip in question is part two of a very long shot. Put simply, it's kinda like one long shot that the camera broke up into parts and stored as multiple clips for more manageable file sizes. When I review today's footage in the camera, i only have three "scenes" to choose from. The first two scenes, being very long continuous shots, are broken up into subparts. So I have a total of five .mov files that can be described as 1a, 1b, 2a, 2b, and 3. It's file 1b that is misbehaving - the second half of my first long shot.
I reviewed .mov file 1a on my computer in Quicktime. The file size was 3.71 GB, it's 13 minutes and 54 seconds long, and ends on a camera zoom. I reviewed scene 1 again in the camera, and it plays the whole thing just fine - scene 1 lasts an additional 7 or 8 minutes beyond that camera zoom. That 7 or 8 minutes is the second half of scene one, so it's the second .mov file that the camera created after the first half of shot/scene 1 reached it's maximum file size. That's the .mov file that I describe in my original post as "corrupt". It's the one that won't play.
So it looks like I have a situation where the camera split a shot into two clips, and failed to package up the second half in such a way that QT/FCP/Compressor/etc. knows what to do with it. It's still there, I can watch it in the camera, I just can't use it anywhere else.
Anyone have any additional suggestions?
Thanks,
-Scott
Message was edited by: Scott Palmer1

JVC ProHD Problems

So I bought the JVC GY HD100. Great camera.Nice image, very nice handling.
This was all nice until I got a job to shoot in 720P and not DV.
So now I have only one alternative, Lumier. I bought the software, and know how it works. But what a long way round to do it, it just takes ages and is difficult to control.
I thought I could solve the problem buying a Kona LSe, but after spending 1000USD I still can't capture 720P directly into FCP. I thought that I would be able connect the RGB from the camera playback directly into the Kona card. Does not work.
Any ideas? Do you think FCPwill ever support JVC's new ProHD codec?
Give me some thoughts on this problem.
Thanks
PS: Am i the only one that has these problems?
G5 Quad, G5 dual 2.7, G5 Dual 2.0, G5 Dual 1.8 PB 171.33mhz Mac OS X (10.4.6) All have more than 3 GIG RAM, and SATA HDD Arrays

The Kona LSe is a Standard Def capture card. You need a High Def capture card...the recommended model is the Kona LHe.
http://www.aja.com/html/productsmacintosh_konaLSe.html
This is the Apple Whitepaper on this workflow:
http://www.aja.com/pdfs/AJAwhitepaperHDV.pdf
Apple will support the JVC 720p24 codec soon. No hard date, but they had a working demo at NAB. It already supports the 720p30 format captured via firewire.
Shane

Compatible camera list

I am looking to buy a camera to use on some personal projects and build a demo reel. I've tried to locate a list of cameras compatible with FCP 5.0.4 but have so far been unable to do so.
Can someone give me the url for this? Or let me know if these cameras are compatible: Sony HDR-HC7; Canon HV20; and JVC GZHD1US. I am going consumer due to cost, the jvc has a lot of features I like but records to a hard drive and I am old school enough to still want tape, but if it works best with my software, I'll try it.
Thanks for any and all help,
Doug
Powerbook G4 Mac OS X (10.4.9) FCP Studio

All of the cameras that you listed, the Sony HC7, the Canon HV20, and the JVC GZHD1US (JVC GR HD1US you meant?) are all HDV cameras and should not be a problem when using it with FCP. When working with Final Cut Pro, you are going to want to avoid the Hard Drive cameras using the AVC Codec, because you will not be able to edit that in Final Cut.
I personally have a Canon HV20 and a JVC HD-100 and they both work with Final Cut Pro. The only time that you will have fun with either of my cameras is when shooting in 24p mode. With the HV20, the camera actually records the 24p timeline on a 60i tape timeline and thus cinema tools is needed to do the advanced pulldown. I among others posted specific instructions on how to do this with the Canon HV20. It is a bit of work, however, the biproduct is awesome. The JVC HD100 is a different story since they use their own ProHD codec.
Hope that this helps.
-Mike

LUMIERE created XML files to 'facilitate the migration of project in FCP.'

I recently purchased Lumiere so that I could work with material shot on the JVC GY-HD100U camera in FCP. I understand that FCP is due to for an update soon, but alas, I'm unable to wait. That being said, I have followed the various steps to create mov files from the compressed MP2 files generated through Lumiere. The supposed last step before beginning the edit in FCP is to decide whether or not to 'create FCP XML' or not.
1. What purpose does using XML files instead of the .mov files serve in FCP? It is an option in the import files drop down... What gives? For that matter why and what are xml files function here? Pretty Green, I know
2. Can I edit using the custom 24p Apple Intermediate Codec I was told to create usinf the mov files instead, and then online, or convert the timeline to full resolution just the same using the mov files?
3. If I am getting an error message when trying to import the XML files and am therefore unablr to do so... any ideas why? I had one file with 'acceptable errors'. The log read that there was a path problem with the audio files, which I was unable to fix. The other files would not import at all. Why?
4. What is the best way/codec for editing HDV - outputing te best image resolution without a Xserve raid or the like...
I know this probably reads like questions for a Lumiere forum, but I have tried and received no answers... Any insights appreciated, as my deadline is fast approaching.
-Thanks
Tom.

Maybe this will help from the Lumiere HD forum on their site (http://www.lumierehd.com/forums/showthread.php?t=576) :
720p EDITORIAL WORKFLOW USING JVC-GYHD100 AND FCP5.0
By Jon Farhat
CAPTURING AND EDITING
JVC GY-HD100 720p > LUMIERE HD > FINAL CUT PRO 5.0
Workflow Steps:
1. Launch Lumiere HD and begin with the CAPTURE/PRINT tab.
2. Enter your Logging information into the fields labeled REEL, DESC., SCENE and SHOT. The program with create a name for you based on this information and place it in the NAME field.
3. You can also check AUTOINCREMENT. Doing this will create a Name based on the Scene Name and will add a Shot number starting with 1. Each time you capture a new take, the shot number will increase as well as appear as an extension to the file name as indicated in the Name field.
4. Click on the DESTINATION button to choose a folder for your raw Transport streams. The files placed in this folder will have the naming convention, DESCSCENE1.m2t. Note that these files have the Audio and Video multiplexed together.
5. Use the toggle controls to line find your desired take and back up a while to add a little pre-roll. (Note: LHD does not do Batch Capturing so you have to click the CAPTURE and STOP CAPTURE button for each take.
6. Once you have captured all your takes and placed them in your working folder, click on the PROGRAM STREAM tab.
7. Click on the DESTINATION button in the PROGRAM STREAM VIDEO area. When the navigation window opens, click on NEW FOLDER and create a folder called “Video”. Select OK to choose your new folder.
8. Click on the DESTINATION button in the PROGRAM STREAM AUDIO area. When the navigation window opens, click on NEW FOLDER and create a folder called “Audio”. Select OK to choose your new folder.
9. Now click on the SELECT M2T FILE(S). IMPORTANT NOTE: If you have used the Autoincrement function, or have sequentially numbered files, no not select the folder housing your m2t’s but rather drag select across all your takes, starting from the lowest number to the highest. Then click OK.
10. Now you are read to split the raw m2t transport streams into a separate AIFF audio file, which will be placed in the Audio directory you created and and M2V video file which will be placed in the Video Directory. It is important that the audio files and video files are in these separate directories.
11. Choose the PRESETS pull-down menu In the REALTIME TIMELINE CODEC window. Select OTHER.
12. In the COMPRESSION TYPE Pulldown menu, select APPLE INTERMEDIATE CODEC.
13. Select the FRAMES PER SECOND pull-down menu and select 23.98.
14. Select the OTHER button in the COMPRESSOR > PRESET.
15. In the SIZE section, choose the SOURCE button. Note that you can also create a smaller dimension such as 720 x 406 (16:9 aspect ratio) since this is only used as a proxy in FCP to edit with. But if you have the memory and speed, working in the full 1280 x 720 is preferable. These files will not be rendered into your final master. After you edit with this proxy codec, you will use Media Manager to build a new timeline from the full size raw capture images. It is on this new full-size timeline that you will color correct your movie as well. (Discussed later in this document)
16. In the FINAL CUT AUTOMATION section, check the CREATE FCP XML box, and UN-CHECK the ANAMORPHIC box.
17. Click on the AUDIO FILES? Button and either double-click on the AUDIO directory you created which houses your AIFF’s and then click OPEN or simply select the directory once and then click OPEN.
18. Now click on the SOURCE button in the SOURCE/DESTINATION section. Open the Video folder which houses your de-multiplexed m2v video files.
19. Click on the DESTINATION button in the SOURCE/DESTINATION section and select NEW FOLDER and call this “project name”_REALTIMES. This is where your .mov files which are compressed with the AIC (Apple Intermediate Codec) will be placed.
20. You are now ready to hit the GO button. So, what are you waiting for, hit the GO button now!
21. When the Quicktime settings dialog opens, confirm your SETTINGS, FILTER and SIZE settings under the VIDEO sections. IMPORTANT NOTE: Make sure to select the SOUND > SETTINGS button and change the SAMPLE RATE to 48kHz, 16 bit, Stereo.
22. After Lumiere HD creates your file(s), another window will open asking you to input your XML FILE NAME. Do this then click OK.
23. When you view your “REALTIMES” directory, you will notice that you now have matching files to your demultiplexed Video files. For instance, if your file was named, DESCSCENE1.m2t then then Realtime file you use for editing will be named DESCSCENE1.mov. The XML file will also appear in this destination directory.
24. Open Final Cut Pro. Let’s start by creating a new EASY SETUP preset. (You will only have to do this one time since no Easy Setup setup exists for AIC 24p in FCP. From then on, you will start FCP and simply go to Easy Setup and select this Project Preset before you import your XML skipping to item 29 below) Select AUDIO VIDEO SETTINGS. Under the SEQUENCE PRESETS tab, select APPLE INTERMEDIATE CODEC 720p30 from the scrolling menu. Note that we are going to create a preset for 23.98 from this one by changing the frame rate. All other settings are the same as the 720p30 preset.
25. Select the DUPLICATE button. In the SEQUENCE PRESET EDITOR change the NAME to “Apple Intermediate Codec 720p24” Go ahead and also change 30 to 24 in the DESCRIPTION text box.
26. Confirm the following settings in the GENERAL tab.
a. FRAME SIZE: 1280 X 720
b. ASPECT RATIO: HDTV 720p (16:9)
c. Make sure the ANAMORPHIC (16:9) box is UNCHECKED.
d. PIXEL ASPECT RATIO: Square
e. FIELD DOMINANCE: None
f. EDITING TIMEBASE: 23.98
g. TIMECODE RATE: Same as Editing Timebase
h. QUICKTIME VIDEO SETTINGS: Apple Intermediate Codec.
i. QUALITY: Desired setting based on your system capacity.
j. AUDIO SETTINGS: 48kHz, 16-bit and a Default Config:
27. Click OK, then select this new Preset once you return to the AUDIO/VIDEO SETTINGS dialog and then click CREATE EASY SETUP.
28. When the EASY SETUP dialog opens up create type in the NAME field, “HDV-Apple Intermediate Codec 720p24” Enter a description and then click the CREATE button. Save in the CUSTOM SETTINGS pull-down menu.
29. Let’s start by closing all open Projects and stay in FCP. It’s always good to have a separate 720p project for all your JVC HD-100 sequences. Select EASY SETUP and select your new “HDV-Apple Intermediate Codec 720p24” Of course you will still be in the basic program now with no Projects or Sequences, but your system is now configured to import the XML and the sequence presets will match perfectly. (Keep in mind we did all this to circumvent a bug in FCP5.0)
30. Now go to FILE > IMPORT > XML and select the XML file you created in Lumiere HD. Select CHOOSE. When the IMPORT XML window opens, select the CREATE NEW PROJECT in the DESTINATION pull down menu. Make sure your DEFAULT is APPLE INTERMEDIATE CODEC 720p24. Make sure all buttons are checked, including OVERRIDE WITH SETTINGS FROM XML. You should be able to simply check this override box when importing into any open FCP session and create a new project with the XML settings once the bug is fixed in FCP.
31. This will create a new project named after your XML, and a directory of all your real-time clips called “project name”_REALTIMES.
32. You will also notice that the clip names do not end with .mov but rather end with .m2v. These names actually access the AIC compressed .mov files as this naming convention in the browser is simply a means to locate the uncompressed transport streams later with Media Manager once you have finished editing.
33. Now you can start editing. When you drag a clip to the Timeline, the corresponding AIFF audio file will also travel with it and be locked to the Video. However, until Timecode sync is offered in LHD, you may need to re-sync via the Clapper slate as mentioned above. However, unless you are using very long takes, the sync is within fractions of a frame and isn’t perceptible.
34. Edit away but avoid doing things like color correction or final rendering of effects until you are done with the need to work in real-time.
35. Once you are finished editing, move to the next section.
GOING ONLINE
FINAL CUT PRO 5.0 > LUMIERE HD > JVC GY-HD100 720p
CONNECTING ORIGINAL MEDIA: ONLINE OPTION #1
1. Select sequence in your browser.
2. Choose FILE > MEDIA MANAGER.
3. Media Manager Settings:
a. Media: CREATE OFFLINE
b. Set Sequence to CUSTOM
c. 1280 X 720
d. Pixel Aspect Ratio: SQUARE
e. Anamorphic Box: UNCHECKED
f. Editing Timebase: 23.98
g. Timecode rate: SAME
h. Compressor: NONE or HDV720p30
i. Audio: 48kHz, 16 bit, stereo default
j. Project name: ONLINE 720p24
k. Go to ONLINE 720p24 tab in the browser. Double click on the sequence. (Note: the is currently an issue in LHD’s XML function in that it will not transfer the REEL NAME to the clip. You will have to select all your clips to add the reel name, otherwise the the clips will not be made “Offline”. You can always right-click on the clip an select the MAKE OFFLINE function. )
l. Save project name: ONLINE 720p24
m. Go to ONLINE 720p24 tab in the browser and double-click on the sequence. (clips should be offline if the reel name is added in the brower.)
n. Select all the clips in the browser in the ONLINE 720p24 sequence and choose RECONNECT MEDIA.
o. Point to the original digital negative clips that you demuxed in LHD. (ignore mismatch warning and all your clips should reconnect.
IMPORTANT NOTE: The above routine for going online worked will with FCP4 but now there exists a BUG in FCP5 in the Media Manager function.
BUG REPORT: When doing an offline and choosing "based on clip names" (which are NAME.MOV), Media manage will add .MOV to the source name resulting in NAME.MOV.MOV.
This is happening in FCP5. It never happened in FCP4. We've used this freature extensively before for online/offline editing workflow. The advantage of using clip name vs. file name in the browser is that you can edit a proxy and always keep track of its online version by naming the clip the same name as the online version. Now that it ads .MOV to the name, it's unusable - or you have to reconnect by hand rather than using hte "connect the clips based on relative paths" option.
CONNECTING ORIGINAL MEDIA: ONLINE OPTION #2
STICKING WITH APPLE INTERMEDIAT CODEC.
For now, it is possible to stick with the Apple Intermediate codec when going online and back through LHD to the JVC HD-100. If so, choose NONE compression when exporting a Quicktime from FCP for use in LHD. However, the best case will be to use the above option #1 when Apple gets around to fixing their bug with Media Manager.
Otherwise, you will have to reconnect all your clips to the original m2v’s manually to avoid the codec altogether.
About the Apple Intermediate Codec
The Apple Intermediate Codec is a high-quality video codec that Apple developed for use as an alternative to native MPEG-2 HDV editing in an HDV workflow. Instead of editing the MPEG-2 HDV data directly, you can capture video from the tape source and then transcode it with the Apple Intermediate Codec to optimize the video data for playback performance and quality.
Working with the Apple Intermediate Codec is less processor-intensive than working with native HDV. Unlike MPEG-2 HDV, the Apple Intermediate Codec does not use temporal compression, so every frame can be decoded and displayed immediately without first decoding other frames. The drawback of this codec is that it requires three to four times as much bandwidth and hard drive storage space as MPEG-2 HDV.
Data rates for the Apple Intermediate Codec are variable; the data rates and storage needed may vary slightly, depending on the complexity of your footage. Images with a lot of detail have a higher data rate, while images with less detail have a lower data rate.
Format and Data rate
MPEG-2 HDV 720p30……….2.5 MB/sec. (equivalent to 9 GB/hr.)
MPEG-2 HDV 1080i60/50……….3.3 MB/sec. (equivalent to 12 GB/hr.)
Apple Intermediate Codec HDV 720p30………. approximately 7 MB/sec. (equivalent to approximately 25 GB/hr.)
Apple Intermediate Codec HDV 1080i50………. approximately 12 MB/sec. (equivalent to approximately 42 GB/hr.)
Apple Intermediate Codec HDV 1080i60………. approximately 14 MB/sec. (equivalent to approximately 49 GB/hr.)
Frame Aspect and Dimensions
MPEG-2 HDV and Apple Intermediate Codec feature a 16:9 widescreen aspect ratio for all resolutions.
The 1080i format features 1080 lines (1440 pixels per line), interlaced, using non-square pixels to display a screen ratio of 16:9 (equivalent to 1920 x 1080). The 720p format features 720 lines (equivalent to 1280 x 720) with a progressive scan.
Color Recording Method
Both MPEG-2 HDV and Apple Intermediate Codec HDV record a 4:2:0 component (Y´CBCR) digital video signal. Each sample (pixel) has a resolution of 8 bits.
Note: This article was based on information from the HD and Broadcast Formats document (in Final Cut Pro 5, choose HD and Broadcast Formats from the Help menu).
EXPORTING QUICKTIME TO LUMIERE HD > JVC GY-HD100
1. Use the following settings when feeding a Quicktime file back to Lumiere HD if you plan on generating a 720p24 transport stream to the JVC GY-HD100 or BR-HD50.
2. Quicktime settings:
a. Resolution: 1280x720
b. Frame Rate: 23.976 (23.98)
c. Progressive
d. Audio on whole track.
e. Audio Settings: 48kHz, 16bit, stereo
f. Square Pixel.
3. Open LHD and select the TRANSPORT STREAM tab.
4. Select JVC 720p/24 (GY-HD100, BR-HD50) in the pulldown menu.
5. Select the HDMASTER tab and then choose your .MOV file.
6. Select the DESTINATION BUTTON under the TRANSPORT STREAM section.
7. Now return to the CAPTURE/PRINT tab in LHD and select the print to tape button. Choose your new edited TS (transport stream) file and Click OPEN and it will print to tape automatically.
Special Thanks to the following for their input to this document:
Frederic Haubrich
Neil Boone
Apple Docs: Article number 301599
Jerry

FCP Capturing Problem

ESC button does not work when capturing from JVC HD 100. Can anyone help please?

First off, I am very impressed that you made a capture card. Wow.
Secondly, you can't 'bypass' the codec as you need to specify a Quicktime codec as the target format that you are capturing too. How can you capture footage but not save it as a specific format type? And yes, if you intend this to be used with FCP, it will have to be QT based.
We are all end users here, so you might do good to contact Apple's Developer wing...
Shane

Looking for the Holy Grail

I'm wondering what you guys and girls are using as fast storage for uncompressed hd work.
My company is looking for a solution that is reliable, but less expensive than an XRaid solution.
It can be raid0, raid5, raid10, I don't care, I just want to know what is working for you in your real world applications.
To be honest here, we're not currently doing uncompressed HD work, but are about to start doing some uncompressed SD and would like what we buy to be fast enough to step up into the HD realm if we can land some larger accounts.

I suppose we can agree to disagree. You've been on this forum for as long as I can remember. Furthermore, I basically agree with every thing else you post here so I don't want to get on your bad side.
The most important point that I believe has been overlooked is that broadcast and the future HD DVD (both standards) use the same or similar wide GOP MPEG or WMV compression that HDV uses. Sure stations may use D5 or HDCAM decks in the control room, but the actual HD broadcast is always downsampled. Most HD broadcasts are AT BEST 19mbit and usually much lower. And that's a 60P stream so 30P or 24P footage will only use half that bandwidth for active frames due to the pulldown. By the way, I believe JVC's HDV1 720P CODEC is superior in this regard because it devotes the entire bandwidth to active frames and uses a smaller GOP of 6 for better motion rendering. Even DVCProHD wastes over half of it's 100mbit bandwidth on inactive frames when shooting 24P or 30P. I have no experience with HDV2 1080i format but I suspect it also wastes some bandwidth in 24P modes on inactive frames due to it's pulldown pattern and uses a 12 frame GOP which would hurt motion rendering.
My impression of HDV1 720P is that the footage is very similiar to DVCPROHD even in high motion, but with a smaller colorspace. Human eyes don't see the lower colorspace in most cases and when transmitted over SDI, most systems can actually smooth the chroma channels making it even less noticable.
I don't agree that the subjective quality of an HDV image is below DV-25. Most panning artifacts are subject to camera settings. It's amazing how a shutter speed adjustment improves the look of such footage in 30P and 24P. Lowering sharpening really reduces motion artifacts. I suppose with a really crappy HDV camera such as the older JVC GRHD-1, one could say the image is inferior to DV, but but I don't think the format is subjectively inferior when shot correctly.
Yes, the same artifacting you describe is so rampant in HDV will be visible on broadcast, regardless of the quality of your source footage that you hand over to the station. Of course there are instances like I mentioned when it is best to edit in the highest quality format for color keying work or advanced color correction, and especially filmout.
However 95% of the time HD footage will be compressed at a rate that is lower and more destructive than HDV when viewed by an audience.
Am I wrong about any of this? Please correct me if so.

Import CS3 AVI Footage into CS4

I'm trying to import some footage that I captured on my PC in CS3, into my Mac in CS4. When I open the project that was created in CS3 (PC), on my CS3 (Mac) it comes through fine. But when I convert the project and open it in CS4 (Mac), it wants to render all of the footage in the timeline. Which means the sequence settings aren't matching the footage. Even though the sequence settings are the same as those I used in CS3. Not sure what's going on.
Reason I capture the footage on my PC to begin with is because CS3 and CS4 still will not capture my DVX-100 24p footage correctly on a Mac. So this is my only solution at the time being. I have 34 hours of AVI footage that I'd really like to edit in CS4. Any help would be much appreciated!

Bill, thanks for your response. Sorry for the delay in getting back. The mis-match is precisely what I'm trying to figure out and fix. My sequence presets are as follows:
GENERAL
Editing Mode: Quicktime DV 24p
Timebase: 23.976 frames/second
VIDEO
Frame Size: 720 x 480 (16:9)
Pixel Aspect Ratio: D1/DV NTSC Widescreen 16:9
Fields: No Fields (Progressive Scan)
Display Format: 24fps Timecode
AUDIO
Sample Rate: 4800 Hz
Display Format: Audio Samples
VIDEO PREVIEWS
Preview File Format: Quicktime DV 24p
Codec: DV/NTSC 24p
Max bit depth and Max render quality are NOT checked.
And the clip properties are as follows:
Type: AVI Movie
File Size: 642.8 MB
Image Size: 720 x 480
Pixel Depth: 24
Frame Rate: 29.97 (24p)
Source Audio Format: 48000 Hz - 16 bit - Stereo
Project Audio Format: 48000 Hz - 32 bit floating point - Stereo
Total Duration: 00:02:57:16
Average Data Rate: 3.6 MB / second
Pixel Aspect Ratio: 1.2121
QuickTime Details:
Movie contains 1 video track(s), 1 audio track(s) and 0 timecode track(s).
Video:
There are 5330 frames with a duration of 1/29.97th.
Video track 1:
Duration is 0:02:57:16
Average frame rate is 29.98 fps
Video track 1 contains 1 type(s) of video data:
Video data block #1:
Frame Size = 720 x 480
Compressor = DV/DVCPRO - NTSC
Quality = Normal (3.00)
Temporal = Normal (3.00)
Not sure why the properties show that the clip is 29.97fps, becuase when I single click a clip it shows up as 23.976 up above. Any advice would be MUCH appreciated!

JVC HD-100 24P CODEC

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