Output to HDCam

I'm doing an edit to tape (to Sony HDCam) in a 23.98fps 10 bit HD project. (Through a Decklink HD card.)
The timeline and timecode on the mastered tape match at the start, but by the end, the tape's timecode is one frame longer than the timeline.
Is there any way to correct this? Or is a one frame difference acceptable? (Over the course of a 90 minute show.)

Trim one frame from your timeline...
Why is it doing this? Who knows. Working on an Avid Symphony Nitris when we try to output, it gives us an error, saying the sequence is one frame short. We add a frame and it outputs fine. Why? Who knows...

Similar Messages

Trouble with output to tape in PrPro 14 with AJA Kona. Win7pro64. Output to HDCam (HDW-F500), prerolls and parks until reference is cycled. Won't do an audio only insert edit.

I have downloaded and installed the latest drivers from AJA, but am still having trouble outputting to tape.

Well, this is admittedly making my head spin, but would it be possible, with that level of frame rate mismatch, for recording to even take place? The deck was definitely set for 23.98 and PsF (that's what both the indicators said).
At a point of boiling frustration, I performed an Assemble Edit (instead of the typical Insert, after I blacked a tape). When doing that - just for the heck of it - the recording went on for 83 minutes, it gave me a Lost Lock with 1 minute left in our end credits. I then rewound the tape for about 60 minutes and played. Got a Lost Lock in 20 seconds with a picture dropout.
Since you're familiar with the deck, does this seem at all plausible? Does this feed your theory about a frame rate/communication mismatch?

HD footage and some DV footage..OUTPUT to HDCAM

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

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

Trying to output HDCAM...

So i have several QT clips that were shot with various frame rates....ranging from 24 to 60 frames. Some were shot using DVCPRO HD 720p 60i (see below):
1. DVCPRO HD 720p60, 960X720 23.98 fps
2. DV 720X480 29.97 fps
3. DVCPRO HD 720p60, 960X720 59.94 fps
I have built a sequence using the DVCPRO HD 720p 30 in FCP. Using Media Manager.....could i theoretically output this to APPLE PRO RES 422(HQ) 1920 X 1080i 30p to HDCAM? Keep in mind i am only using FCP 6.0.2 with no additional hardware. We are trying to build 1 QT to have a post house output to HDCAM. Hopefully we are doing this correctly.

NO need to transcode to anything. Just export out a self contained QT file, take that to a post facility with a Kona 3 card, and they can output your 720p 23.98 to 1080p 23.98 HDCAM, upconverting on the fly thru the card.
I have done this many a time.
Shane

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

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

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

FCP Workflow for export to HDCAM SR

I have been asked to deliver a FCP job on HDCAM-SR.
The material will be delivered to me as Tiff / Targa sequences
I have not used HDCAM-SR before so I am not sure what would be the best sequence codec to use.
As I understand it, SR a 4:4:4 format, so Uncompressed 10bit 422 is out of the question.
I am using a Kona 3 on a 3Ghz Quad, but can't see anything suitable in the codec list. Is there another codec I need to get?

There are any number of codecs you can use. The Deck doesn't care what you use...it just receives the signal from FCP via the Kona. You can use HDV, DVCPRO HD, uncompressed, ProRes, XDCAM...anything. THe kona and the deck are codec independant. And it can be either 444 or 422. What you need to send it all depends on what the delivery requirements are.
So what you need to figure out is what best works with what you are receiving.
The material will be delivered to me as Tiff / Targa sequences
Test out ProRes, uncompressed 10-bit...see what works best.
There seems to be very little info out there about HDCAM-SR. Is it a YUV or RGB format?
No clue...beyond my scope of knowledge. I edit DVCPRO HD primarily, and output to HDCAM (not SR). And I have the tech head engineers handle that. I am the creative cutter.
Shane

Converting a HDV project to HDCAM?

I have a project that I am finishing in FCS2 - I used the Apple HDV codec. I need to convert it to HDCAM but know nothing about the process. I didn't see anything in the forum. Could anyone tell me what I need to do to convert?
Thanks!

HDCAM isn't a codec....it is a tape format. What you need to do is rent an HDCAM deck, buy an HD capture card and output to HDCAM. Or take your HDV project...or outputted file...to a post facility with FCP and an HDCAM deck and have them output it.
I output HDV all the time to HDCAM SR. Twice a week.
Shane

Editing HDCAM with final cut pro 6?

Hi all,
We have been offered some post work on a music video shot in HDCAM, we use Final cut pro 6 and have a HDCAM capture deck (Sony J-H3 (JH3) HDCAM Compact Player), I am in the process of researching this work flow.
Would any one be able to shed some light on editing HDCAM in final cut Pro 6, the settings, things to look out for, and the overall work flow,
i very much appreciate your help
The mac to be used is a Mac Pro, mac os x 10.5.6 with final cut pro 6, duel core intel 2.66 Ghz, 8 GB memory, 2 NVIDIA GeFource 8800GT, with a 3 TB of internal HD Space

we don't take in HDcam, but we do use it for output archive and transmition.
the workflow we use is, Shoot in AVCintra 50 onto P2 cards transfer into FCP 6
edit in Apple Pro Res 1080i50 and output to HDcam via an AJA Kona card sending out as HD-SDI
ian

Panasonic AJHD-1400 and Mac Pro Audio Issues

Hi-
I'm looking to setup a system with the above mentioned hardware. I've heard, however, there is an audio problem (crackling sound) when laying back to this deck via FW. Some have said this was corrected in 10.4.10 but I have no confirmation. Any insight would be greatly appreciated.
-Paul

Just chiming in so you don't feel ignored.
I typically don't layback to the 1400, so I haven't had this issue. I capture from that deck, but output to HDCAM. And when I DID output to the 1400, I was (and still ma) running 10.4.7. I know the issue exists, and I think I recall it being solved with 10.4.10...but that is a question for the Creative Cow and Walter Biscardi and Jeremy G...but I think you asked it there too...I recall seeing this same question.
I only have a 1200 here at work (and 10.4.10 on my laptop) or I'd test it for you.
Shane

Online format and AJA HD question. Which HD is right ?

I am supposed to deliver an output in HDCam SR, 24P format, 4:4:4 color space in 16:9 (1.78:1 full frame)
I am running a HD AJA card, but get different formats in the FCP selection box such as HD (960x720) , HDTV 720p, HD (1280x1080), also with the compression settings I`m not sure if I should use the AJA Uncompressed 8 or 10 bit which are only 4:2:2
My current timeline has stock footage in 720x480 29.97 and HD 960x720.
The offline was cut in a 720x480 NTSC DV (3:2) Anamorphic 16:9 CCIR 601
Is it easiest to just change the offline timeline format and then re-size all the clips? and what of the above formats should I use?
Thanks for any help,
Sincerely
Christian

I already have all the footage in high res on the system, since I captured it right of the Panasonic HVX200 camera and the P2 cards. I just did the editing in a low res timeline. So no re-capture needed. But what I`m not sure of is what the right HD resolution is that they need for HDCam SR. Is it 960x720, or 1280x1080,... 24P or 23.98,... ?

Starting a documentary, using PPro for the 1st time, any pro tips for workflow?

I'm a documentary director and editor that is making the big switch for my next project. For some background, I'm coming from the world of FCP 7 working with p2 DVCpro footage off a Panasonic HPX camera, multiple editors who each have separate systems with duplicates of media to work from, and usually finish using Color, outputting to HDCAM (SR if necessary).
For the new project the two editors will be working on Mac Pro Towers, OS 10.6.8, Dual Core 3Ghz Intel, 9GB RAM, ATI Radeon HD 5770. The towers were bought in late 2007, so we can't upgrade to Mountain Lion because our chipset is barely outdated.
We will be shooting the entirety of the doc on c300s, and eventually c100s.
One of the main attractions for our switch is that the c300 footage drops in Premiere natively, and we will not need to duplicate our storage space to create 422 Pro Res clips.
Is this a mistake? Does the long GOP format of the canon's mpeg format prove too incompatible for multiclipping, logging, cutting, and then color correct?
What do I need to do to ensure that each editor can open each other's project files as seamlessly as possible? How do we avoid waiting for the audio to load in each time we pass project files back and forth?
Because logging and organization are so important to us with the amount of footage we use, are there any bugs I should know of that delete markers or screw up the sync of multiclips?
Thanks in advance for the advice and discussing topics that I'm sure have been covered here many times before.
I look forward to all of your thoughts.
Best,
Clay

Try doing a hard reset on the phone;
1. Hold Home and Sleep/Wake buttons at the same time;
2. Wait for the Apple logo to appear (ignore the slide to Power Off option)
3. Let go of the buttons when you see Apple on the screen
4. Allow iPhone to reboot; and try to open the apps again.
If that doesn't work; you will have to try a restore in iTunes; and then sync the apps back the phone after the restore.

DVCPro HD Varrie speed

HI,
I'm just about to start a project for a client. They have shot on DVCPro HD on a Panasonic HDC-27F. I'll capturing into FCP via a Panasonic AJHD 1400 deck on HDSDI. I'm thinking to use a process codec as the client want both an SD and an HD master and there will be no online, just doing it all on the one machine. Suggestions as to which codec would be great!
Also I a little concerned as to weather FCP is capable of dealing with the Varrie speed footage. In the past I've worked on Avid's where they are capable of doing the frame rate conversion and some where you need to get a frame rate convert in first.
How does FCP deal with it? Any advice would be really appreciated.
Thanks in advance.

Capture and edit in the native DVCPRO HD codec. You can then deliver an HD and SD master...all you need is an HD capure card. Now, specifically, what format of HD and SD master? I have worked on 3 feature length docs and a 12 episode series shot with the Varicam and edited full resolution, then output to HDCAM and Digibeta.
And yes, FCP can handle the variable speeds. All you need to do is capture the footage at full speed, then the Frame Rate Converter can convert it...to either 29.97 or 23.98...for great looking slow motion. Mind you, you need to shoot 59.94 or 48....FCP does have issues capturing the odd speeds like 22 and 36. It can capture it as 59.94 with the 22 frame "look."
You can read my blog...starting in the archives at the beginning...to get workflow ideas. www.lfhd.net
Shane

Best workflow for Varicam 720P project

Just shot a feature on 2 Varicams and will be using FCP Studio 2 (FCP) to edit our rough cut. The rough will be taken to a post house for final cut, color grading and effects.
We are bringing our footage from both cameras and a seperate audio source into FCP via a 1400 deck with firewire. (The audio is capture direct from Flash Cards)
Should we edit DVCPro HD or go with Apple ProRes? Is there another workflow example that I should be following or consider?
I'm 6 months in with FCP, coming from Media 100 and some AVID work. So FCP is still pretty new to me. Once I have a proper workflow with settings, etc I'm sure I'll be semi-okay with getting a rough cut completed...... I really want to avoid future issues or quality loss.
Thanks in advance. Jason
[email protected]

Should we edit DVCPro HD or go with Apple ProRes? Is there another workflow example that I should be following or consider?
Capture and edit DVCPRO HD. Going ProRes doesn't get you anything other than larger file sizes. I work on History Channel shows and Discovery shows and we edit DVCPRO HD native, color correct DVCPRO HD, and then output to HDCAM and D5. Flawless workflow.
Shane

Footage of different formats on one timeline; also different frame rates

I need to edit footage of different formats on one timeline. The end product will be compressed for the web so I do not need to be working in HD.
I have been using the timeline settings for DVCAM (720 x 480) Anamorphic.
I have broll footage shot and captured at 960 x 720 59.95 FPS DVCPRO HD 720p60
And Interview footage shoot in DV Cam -- 720 x 480 29.79 Dv/DVCPRO – NSTC
When I put the HD footage on the timeline and render it, it appears to be in fast-forward – as if I adjusted the speed of the clip. I am wondering if it is caused by the difference in frame rates and also what I can do about it.
Thanks!

The main bulk of your footage is DV and DVCAM, with some B-roll at DVCPRO HD, and you need to deliver HDCAM? Then you either need to have a dub facility use a Terranex to upconvert all the DV to DVCPRO HD, or you need to invest in a Kona 3 and use that to upconvert your footage to DVCPRO HD...and also use that to output to HDCAM.
Shane

Question about FCP and Varicam

Hi everyone-
I'm about to start editing a film. I'd like to use my FCP system. The producers are thinking they want to bring in all the footage in the native varicam format rather than downconverting to DV so they can save money by not having to make DVcam dubs, and not having to pay for an online... I've never edited in the native Varicam format before, but I assume once its in the system, its no different than any other footage...
So, I have a few questions that maybe someone here with some experience can help me answer:
1> Do I need some kind of card (like a blackmagic or AJA card or something to put into my G5 that will allow me to pull footage from a varicam deck? And if so, how much (roughly) should I expect to pay for such a card? Which ones are the best?
2> I have 1.5 TB of storage on my system. How many hours of Varicam footage can I expect to get with that amount of space?
3> Are there any areas I should watch out for that could come back to bite me in the rear by using the native varicam footage?
4> If buying a card and renting a varicam deck proove to be very expensive, how much would I normally expect to pay if I wanted to rent a suite that was already set up with a FCP system which could digitize varicam footage?
5> Are there any places that offer good tech support for FCP if you didnt buy the system from them? (In other words, has anyone had any luck with good 'after market' tech support packages?) and how much should I expect to pay for this kind of service?
Thanks much!
David
G5Quad 2.5 GB 8GB Ram Mac OS X (10.4.8)

I know a few people at the DR Group, but not Adam. You should talk to TJ, their Post Production Specialist.
I had no problems with frame accuracy at 720p24. I captured all my footage via firewire and the timecodes matched perfectly. The interesting thing is that because the 24 frames are extracted from a 60 frame tape, the code jumps around a bit...skips numbers and goes up to 59 frames. But those frames you are working with are extracted frames and are fine.
Onto mastering. Why would you go back to DVCPRO HD for your master? I mean, you CAN if your client requires it, and you can via firewire, but there are a few tricky steps you need to do. You can via HD SDI with very little (unnoticable) quality loss. But what gets me is the outputting to D5 and then recapturing. WHY? As you most likely read, we output the 720p DVCPRO HD sequence to 1080p HDCAM. Now their will be SLIGHT softening of the image of course, you are taking a lower 720p resolution and outputting it to a larger format, 1080p. But that is not only unnoticable unless you display it on a HUGE screen, but really unavoidable. No matter what you do with that 720p image, you will be blowing it up and their will be SLIGHT softening. Will the viewer notice it and be distracted? I highly doubt it. Will you notice it? Only if you look REALLY HARD.
My maps and titles and graphics all upconverted fine. Yes, if you want them to look their absolute best, you'll want them to be the same format as your final delivery. So if you are delivering 1080, you can choose to do them at 1080. His idea of outputting to HDCAM at 1080, then capturing it again and adding the graphics is one way of doing it. But then you are adding compression to your footage not once, but a couple of times. Output...compression...input...compression...output again...compression. If you want your graphics to be the best they can be at 1080, simply take your 720p timeline and drop it into a 1080p timeline, rescale it and then render. This will take a while, but then it is full size...no further loss of quality. Will it be fuzzy? Again, yes, but so slight I doubt you'd see it. This is the workflow I was going to use when the Kona 2 was the only option. But the output, recapture, adding titles and graphics then output again was another option we looked into, but then discarded due to the complexity of it and time needed. I like simplicity.
The G-Raids are fine for editing DVCPRO HD footage, but for uncompressed you will need a SATA Raid or Fibrechannel RAID. This is the reason I built my Popsicle Stick RAID, because I was going to upconvert to 8-bit uncompressed HD and render it. I needed to store the rendered cut on the RAID so that I could playback the footage.
It isn't necessary to get an HD monitor if you aren't color correcting. If you have two monitors you can choose to use one to display your image via Digital Cinema Preview. Or you can get an HD LCD and view on that, but you will need a capture card capable of feeding it an image.
Again, the workflow Adam laid out is a valid one, just one I wouldn't choose. My graphics and maps all upconverted fine, and the online editor who did some minor fixes for us (using the HUGE Sony CRT HD Monitor) commented that they looked really cool. If he didn't catch it, would Joe Public at home on his big widescreen tv being fed a COMPRESSED HD signal via the airwaves? Not likely.
Talk to TJ...see what he thinks. He and I are good friends and we did the workflow I laid out in my blog.
Shane

Output to HDCam

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