Up Rez DVCPRO 50

I remember reading on the Panasonic website that the SDX900, which shoots native 16:9 DVCPRO 50, is a good contender for an up rez to HD. How would you go about doing this through FCP? And what flavor of HD? Also, what are your thoughts on this whole process and results from it? Thanks in advance!

Blow anything up 200% and it won't look nearly as good as something shot 720 or 1080. It will be noticably grainy. If you upconverted with a Terranex (dub facility thus equipped) it will look better, as it has built in noise reduction, but still not match something shot 720 or 1080. Depending on the DPs involved, you'll see the difference. Imaging and lenses are also factors. But your upconvert should look perfectly fine.
The Terranex is what I'd use for GREAT results. Rendering and outputting with Kona 2 give you good results...and is cheaper.
What is TRUE 720 or 1080 anyway?
Shane

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All my settings are Apple Pro Rez 422 but when i log and transfer, i'm getting dvcprohd. what's going on?

All my settings are Apple Pro Rez 422 but when i log and transfer, i'm getting dvcprohd. what's going on?

If your camera shoots DVCPRO HD to P2 cards...like the HVX200, HPX170, HPX500, HPX2000...then it will come in as DVCPRO HD. Only AVCIntra P2 comes in as ProRes. DVCPRO HD P2 comes in native.

DVCPro HD or ProRes?

I'm working on a doc that contains all kinds of HD and SD footage as well as high-rez photos. When finished the director wants the entire thing uprezed to HD and even possibly printed to film.
The highest quality video shot was 720p60 in the DVCPro HD codec. Considering that color grading will be done across the board, is there an advantage to working in ProRes(HQ) over DVCPro HD? I've read that green screen and compositing work aren't the best in DVCPro HD, but there'll be none of that. Just color grading for the entire film.
I guess I'm trying to find out which holds up better to grading.
Thanks,
Andy

risky fx wrote:
Hi
I've done both, and my preferred workflow is to send the the native DVCPro HD timeline to Color and then set Color to render out to Prores HQ. When you Send back to FCP after the grade it will ask you if you want to change the destination sequence to be the same as the rendered files ie: Prores HQ and you select 'Yes'.
Toby,
Yes, this is similar to sending a DV timeline to Color and rendering out 10bit Uncompressed.
I'd agree that the DV100 -> ProRes workflow is a good way to go. Normally I'd advise this, but 1.0.2 has me really gun-shy allowing Color to do any format conversions (the frame blending bug with interlaced material has me approach any workflow with Color as conservatively as possible).
Some clients get concerned about render times with ProRes. I haven't used it as much so I can't comment, but I've been told that renders can get out of hand in HD with all the work that the processor has to do to with that codec (even on the latest Intels). Have you seen that?
- pi

Cannot move HD DVCPRO movies cross-platform unless all systems are 5.1

The 5.1 Crossgrade creates an awkward situation whereby an HD DVCPRO movie exported at full rez ('Current Settings') on an Intel box cannot be viewed on a G4 unless that system too has FCP 5.1 installed - the codec changed to allow the Intel compatibility. Earlier installs of FCP do not allow playback in Quicktime Player - you can hear the audio but the video is white.
The easiest answer is of course to ensure everyone's on 5.1, but that's not going to work in every case. So - before we launch into an export to another format that IS cross-platform compatible, do we have any advice? We need to export a 2.2 hour feature on a MBP, and long transcodes are going to be a pain.
DV would work fine, if the codec doesn't suffer the same problem. Does it? And if not, is transcoding >2 hours to 24fps DV going to be painful?
All advice gratefully receieved. As long as it's not from Mr.Ham.

Ouch indeed. I wish 'that fellow' the best! We don't have that problem though (we've got all the MXF's and a full backup of all the MXF's too, and everything was imported in 5.1). Our problem is a client who doesn't have 5.1, so he can't see the media we're exporting from 5.1 on his G4 with FCP 4.5. But he only needs to view the media, and it doesn't need to be in FCP - Quicktime Player would be fine. So we want to give him the material in a format that is compatible with his system So my question is - does DV exported from 5.1 suffer the same crossgrade format issues? And is it very timeconsuming to trasnscode out to DV from HD DVCPRO?
Worst comes to worst he can get 5.1. But it'd be great for budgetary reasons if we could avoid that.

HDCam to DVCPro HD Green screen---best way to go?

Green screen shoot on HDCam 29.97p. No have HDCam ability. Should I:
-send out for dub to DVCPro HD and then either
-capture by firewire from 1200A Panny deck
or
-from AJA card by HD SDI?
Will either give acceptable results?
Or gonna have to bite the bullet and send tape and a hard drive
somewhere and have HDCam captured to get acceptable
stuff to composite with?
Thanks in advance.
p2

If you dub it to DVCPROHD, that's where the "damage" is done... so won't make any difference capturing thru HD SDI or FireWire quality wise... But stay at 1080... don't go down to 720... as long as that machine of yours plays back 1080... better look into that for sure.
It should still be OK though as far as the green screening ability because it's still in a 4:2:2 colorspace.
That said, If you could capture from the HDCAM via SDI and go to ProRes... you'd be better off in theory.
Jerry
Message was edited by: Jerry Hofmann

Possible to edit DVCPro HD footage in iMovie?

I'm shooting DVCPro HD on a Panasonic HPX170. My friend asked me to shoot and deliver footage to be edited in iMovie, so he can edit it himself. Is this possible? If so, please list the necessary steps.

iMovie doesn't work with DVCPRO HD...as that is a professional format and iMovie is a consumer app. If you capture it with FCP, you will have to then import all the footage into iMovie on your end and give him that. The footage will be converted to Apple Intermediate Codec. And note that what they do in iMovie, stays in iMovie. They will not be able to get you anything that will allow you to online/finish in FCP. It will have to stay in iMovie.
Capture in FCP (tutorial: <http://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1)...then open iMovie and import all the footage. Make sure you direct iMovie to import onto an external drive. How? No clue...I don't use imovie.

How to export a large, high-rez Keynote'08 file as a QT movie?

I have used Keynote '08 to create a 1.6GB presentation, 1024 x 768 resolution, 940 slides of stills and animation clips, navigatable hyperlinks on every slide. It plays and navigates perfectly well in Play mode.
The presentation would of course be most effective if I could export it as a single QuickTime movie - 1024 x 768 resolution. But I have not been able to do this, either on my own or with help from Apple employees at an Apple retail outlet. (I cannot remember whether we tested Keynote '08 or '09 at the store)
The best I've been able to accomplish is to break the presentation into ten parts and export them as ten QuickTime movies at a reduced resolution of 800 x 600.
I've been able to create a full length single movie - but only as a web-sized lowest quality (H.264) QT movie - in which the hyperlinks work but the slide captions cannot be clearly read.
This interactive education presentation would be so much more effective if I could export it as a single high-rez QT movie.
So I am searching for a solution to this problem, if it indeed exists using Keynote '08 or '09, and feedback/educated opinions from Keynote users who have encountered the same problem. Is Apple aware of this limitation? Might Apple address it in Keynote '10 whenever that arrives? Is there additional software available that could solve this problem?
TIA

I want to be able to watch my 1080p work on Apple TV in the best quality.
The TV device is limited to max of 720p playback. While the TV1 did have an option to scale content for output as 1080i or 1080p, this was discontinued with the TV2 since 1080p native HDTVs will automatically rescale the negotiated input as/if needed for proper viewing. To maintain compatibility with the TV1 device, Apple presets will export 720p content only if the source file is larger than or equal to these dimensions and the frame rate is 25 fps or less. They will not allow you upscale smaller dimension files. Thus, your 1080p source files will be exported as either 720p24 or 540p30 files depending on the source frame rate. If you have an TV2 device and wish to ensure a 720p30 output, then use a free third-party app like MPEG Streamclip or HandBrake. Both have TV2 specific conversion options.

Cinema Tools doesn't recognize pulldown cadence on 24p DVCPRO 50

Hi everyone, I'm hoping someone can give me a couple suggestions on this...
I've been capturing 24p material for a documentary from different sources and with different pulldown cadences: DV @ 24p and 24p Advanced, and DVCPRO 50 @ 24p.
The extra frames from the two DV types get removed properly, but not from the DVCPRO 50. I take a clip into Cinema Tools and hit 'Rev Telecine..' (Automated so no options to choose from) and it gives me a 23.98 clip with the what should be the C frame interlaced. (A B C/D D)
It looks like CT is removing 2:3:3:2 'advanced' pulldown and not the normal 2:3:2:3, like it's reading the metadata in the clip wrong. Does anyone know a way to manually set the type of pulldown--either in Cinema Tools or within the metadata of the clip itself?
Thanks in advance,
Will
Dual 2.7 GHz G5, 4.5 GB RAM Mac OS X (10.4.2) FCP 5.03, Cinema Tools 3.03

I didn't know therre was an Automated way either until working on this project, and maybe it's a new setting in Cinema Tools 3. The manual says that CT will recognize the pulldown on the clip automatically when it was shot in a 24p video camera, that this information gets embedded in the clip. The dialog box it gives you for the automatic reverse telecine has no options at all, and all my clips started on an A frame for the possibility of doing all as a batch.
I may have found what happened, (although not how to fix it). My capture setting had Remove Advanced Pulldown checked, and the tapes were recorded with regular pulldown. In my experience with DV footage this has never mattered, it would remove it if it could and if not leave the clip alone.
It looks like there's a bug somewhere in the DVCPRO 50 capture process--that the clip is has the 24p Advanced markers embedded even though it is regular 24p, and so Cinema Tools treats it improperly and removes the wrong frames:
24p Advanced (2:3:3:2) A B B/C C D 29.97 Footage
24p (2:3:2:3) A B C/B C/D D
I I 0 I I (CT removing 2:3:3:2 Pulldown)
24p Advanced A B C D
24p *my result* A B C/D D 23.98 Footage
Has anyone else encountered this bug? Any work arounds known?
Thanks,
Will

Cannot master to tape using Panasonic AJ-D95-dc DVCPRO 50 deck

Hi, I started this discussion with Black Magic Design, whose DeckLink Extreme card I am using along with an AJ-D95-cd DVCPRO 50 deck using SDI in and out. The deck was on loan from a client. I could batch digitize from the deck - easy as pie. But I couldn't master to tape. The BMD tech rep whom I was in email contact with finally said, "yeah, I think you have to invest $20K in a Panasonic deck before it will in do inserts."
I tried to explain however that mastering to tape is an assemble edit, not an insert, but he seemed pretty sure that I was not going to get FCP to work with this deck. Even with the proper Panasonic protocols set correctly.
On each attempt, the deck would preroll before the edit point, stop an blink an error code. I don't have the code handy. But I figure if anyone writes in and says "yes, you should be able to make this work" or "no, you can't", that's a start. Panasonic is my next place to inquire.
Thanks so much for your time.

There is no Master to Tape function in FCP.
Are you trying to "Print to Video," or "Edit to Tape?"
What are you trying? Are you blacking some of the tape first to get timecode, then doing an Edit to Tape from there? Or are you trying to simply Print to Video?

Can Premiere Pro 1.5 accept footage from DVCPRO 50 tape?

I'm trying to figure out whether Premiere Pro 1.5 can import footage shot on DVCPRO 50 (that's physical tape, not P2 card) natively? Or would I have to go an analog-digital route?

>DVCPRO 50 (that's physical tape, not P2 card) natively? Or would I have to go an analog-digital route?
If that is analog tape, you will not be able to directly import with PPro... you will need an analog converter
Such as at http://www.grassvalley.com/products/converters

How to dub and preserve CC on DVCPro 50?

I have a master DVCPro 50 tape with close captioning, I also have a DVCPro 50 deck. I need to make a DVCPro 50 copy of the master tape, but the copy must also have close captioning intact. I have access to a Blackmagic (Decklink i think (rhymes!)) and an Aja IoLA. And of course normal Firewire . What capture options should I be using? How should I be laying it back to tape?

If I have a clip with CC (either VAUX data or Line
21), I play it in Final Cut, going out to my deck
through FW, and have a television hooked up to my
deck... would my television be able to display the
close captioned information?
If it's Line 21, no. FireWire-transportable formats don't carry the data lines.
If it's VAUX, yes. If your program was recorded properly to the deck with CC, then it should be in the VAUX data and should pass from deck to deck and through a capture and output just fine. Again: as long as there is no processing dine while it's in the computer.
I would think the simplest thing to do at this point would be to just try it. Capture via FireWire. Play back through FW and the deck to the TV. Turn captions on on the TV.
If you don't see them then try recording and then playing back. It's possible your deck won't pass them in real time.
My hands-on experience with this is with DV25, but my fairly educated understanding is that it works the same in DV50.

Digitizing **** - FCP 4.0 and a DVCPRO 50 deck/external FW 800 drive

In digitizing ****. Working on documentary project shot 720x480p @24fps. DVCPRO 50, coming in through the deck's firewire. Then to external 500gig drive, firewire 800. Everything worked fine, digitzed 10 tapes. Then someone added another firewire drive and a router, connecting the two drives through the Belkin router. First error symptoms: using digitize now - system freezes on allocating disc space. Makes phantom file size of all usable space. Second error symptom: if you pick a clip and log it and then digitize the clip - initially it all froze up on first frame. After changing some preferences (the abort on dropped frames) I can now get it to digitize 5 minute clips - system takes between 5 and 35 seconds to begin digitizing. Sometimes sound files are way off sync. (I am digitizing to same file, though I normally do not do that). On longer files, system will freeze up on first frame. Have to force quit computer not FCP to get out.
Of course I unplugged all the peripherals. Maybe it was the external drive, so I digitized directly to 160gig system drive - same symptoms, although this is the drive I am using now to get in the 5 minutes clips.
Of course, I need to digitize something from a DVD, and running it through the deck FCP sees the video, but forced to use digitize now it won't work.
I have not trashed the plist file, I just found out about that, but not convinced that is it. No clues, either.

see if this addresses your issue
Shane's Stock Answer #10: ALLOCATING DISKSPACE
1) Set a limit on Capture Now. Never have that box unchecked. Set it to 60 min if you want the whole tape.
2) Do not under any circumstances run any anti-virus/filesaver software. Including Norton and Virex. Sure, Apple doles out Virex for free, but FCP doesn't cooperate with it very well.
If you absolutely feel you must keep Virex installed on your system then use Kevin's script to shut it off before you use FCP:
http://discussions.info.apple.com/webx?[email protected]@.68a85d17
3) Do not capture to your main system drive.
4) Check the format of the drive you are capturing to. It should be Mas OS Extended, jornalling off. If it isn't, copy your files from it and re-initialize it. If it is any other format, you will encounter problems. If not at first, then eventually.
Shane

FCP and Motion formatting issues with DVCPro 50?

The material is DVCPro 50 NTSC 48khtz. (Item properties indicate that I initially digitized it properly.) My sequence settings are DV50 NTSC 48khtz.
I wanted to create a vignette effect so I exported my clips as a Quicktime (current settings) sequence to Motion. When I was done there I exported the sequence from Motion back to FCP as a DV NTSC movie.
Some of the Motion effected clips will play, look great and then all the sudden I see a black band appear on the East side of the frame. I can stretch it in Motion some but it just degrades the image so I'd rather not.
I'm surely grateful if someone can steer me in the right direction here.

Thanks for the workflow tips and suggestions. I backtracked to my original sequence and found the problem originates there. I have narrow black lines on both sides of all these clips. Since I resized a few clips with moves, I didn't recognize the problem. Now that I'm closer the root of it, any suggestions?
By the way, these problematic clips are intercut with no problem library footage that was also shot on DVCPro 50 and I took in on the same deck.
I cruised the forum for any occurence of a similiar issue and most replies seem to suggest a formatting issue. I don't get it since I think I have everything set up correctly. As a precaution, I also tossed out my preferences using FCP Rescue 5.
Welcome to the discussions, splotch.
Not sure what is causing this, but I might propose an
alternate workflow. Have your clips on the timeline
as you wish, ctrl/right click on them and select
Send To Motion.... Click the
embedded and open Motion ticks, give it a name, then
continue. Do your work in Motion, save, quit, and
fall back into FCP. Your clips may lose their
"anamorphicness" on their round trip, but just
ctrl/right click on the clip and select Item Properties/Format..., then
click on the anamorphic button.
Try this and see if you are still getting the same
problem...
Patrick

Export from HD project to DVCPro 50?

I had no trouble exporting from my Final Cut Pro 5 HD (1080i60) project to an HD deck this morning but now that I'm trying to go to DVCPro 50 I'm getting a messages about settings not matching. I've tried redoing seq. settings to DVCPro and then it looks like it's going to export and then it stalls out. Is it even possible to output from an HD project to an NTSC deck? I'm ok with a print to video with no TC info.

Thanks for the input on output! I'll try the QT method first since dropping into a DVCPro sequence didn't seem to work just now. I'm outputting to H.264 QT right now (for DVDs) so it'll be about half an hour before I can test again. I guess I'm wondering if I output to DVCPro QT, do I just crash record to DVDPro deck from Quicktime (which I've never done, but assume is pretty straightforward) or do I import back into FCP and output from there?

Downconverting DVCPRO HD to DVCPRO 50

Hello all,
I searched the forums on this broad issue but no posts seemed to discuss my specific prob.
I shot on the HVX-200 in 24PN and began downconverting my imported footage (DVCPRO HD 720PN 24fps) to DV50 23.98. I noticed that media manager could do the job fine but the one issue was the slight aliasing that would occur in the newly downcoverted DV50 23.98 quicktime. It's not even that bad (i.e. It looks less aliased than when you de-interlace an interlaced clip, but it doesn't look right, none the less). I tried downcoverting it several times, experimented with selecting interlaced and progressive settings, among everything else I could think of but the could not figure out the aliasing issue. Then I tried exporting from the Viewer (with the HD clip open in it), no change. Finally I placed the DVCPRO HD clip in a matching sequence (DVCPRO HD - 720p24) and it FINALLY downconverted to a DV50 23.98 quicktime WITHOUT the subtle aliasing.
I had an online editor check it out to see if I was crazy and the only explanation at the time he could think of is the issue was connected to the simple fact that FCP is best described as "field based" and only when the clip was exported from within its matching sequence would it downconvert without the aliasing issue.
The frustrating thing about this is I'd have to manually downcovert every single clip from the timeline, or dump them ALL into a timeline and downconvert, THEN bring in that newly DV50 23.98 downcoverted clip and start subclipping just to get all my footage seperated into clips again.
And no, laying all that footage to tape isn't an option. Shouldn't have to be since I can successfully downconvert, but just can't do a batch process.
Does this all boil down to Media Manager's "recompress" is not technically the same thing as "downconverting" and doesn't guarantee perfect results?

Hey Jx,
For production purposes, there are features in camera such as the varicam overcrank/undercrank ability and others as well that I wanted to take advantage of (I believe 24pNative is only available in HD mode as well, which mainly I just used for it's smaller file size as I was using P2 cards). And the use of P2 cards, eliminating capturing.
For post production purposes, I wanted to be able to deliver my show (a music video) HD down the road and deliver SD for the time being. Plus, I do all the VFX shots with the HD clips for the reason of just working in higher res (cleaner, easier compositing), plus I then have the ability to reframe (i.e. rescale shots) with the HD clips at their 960x720 frame size down to NTSC's 720x480. E.G. I wanna zoom in 20% to crop out a boom mic, etc. I can do it with (essentially) no quality loss.
That's all I can think of at the moment. Hope you buy some of these reasons cuz they were advantages for me. Also, I can't technically explain it but common belief seems to be the downconverted (from HD) DVCPRO 50 shot will look better than the in-camera DVCPRO 50 shot. That statement might be false "a priori" but it wouldn't be the first time I say something foolish. Thanks for posting.

Up Rez DVCPRO 50

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