Workflow for converting SonyHD Cam footage via KonaLHe to DVCPro HD?

Hi,
I've got a project starting tomorrow and the producer had to switch cameras the day before the shoot! They are now brining in Sony HDCam 1080psf 23.98 (don't know the camera). I've rented an HD Cam deck with SDI out (no FW). I have the Kona LHe so SDI input will be fine. The project is destined for digibeta 29.97 SD so I'm trying to figure out a good workflow for capture and editing. To keep file bandwidth down, I think DVCPro HD is a good solution, but I'm not sure where or how the conversion takes place using the Kona LHe and FCP. Do I set the Kona frame buffer to DVCPro HD 720p @ 23.98 and set capture settings the same in Final Cut? Or, as I have the internal RAID space, just capture native 1080, edit native, then convert the program to 29.97 window 16x9 at the end of the edit? Clarifications, recommendations and comments welcomed! Tnanks!

Conversion is done in FCP. But all you have to do is connect it to the Kona via HD SDI and set the capture settings in FCP. The signal coming in from the card is the full signal, you are just telling FCP in which format to save that signal as. And DVCPRO HD 1080p24 would be the setting. I doubt your internal RAID could handle uncompressed 1080p HD.
Shane

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Color managed workflow for web and camera raw

I recently calibrated my monitor and was wondering what is the preferred workflow for the web? I shoot with my camera in sRGB and my working space in Photoshop is sRGB aswell. The problem that has arised now is that the color managed colors in Photoshop are way different than the non-color managed in my web browser. Is this normal? And what I don't quite get is how a photo that has an embed sRGB profile looks the same in Firefox (that understand embed profiles) and Photoshop, but in Google Chrome (that does not recognize embed color profiles) shows the colors very differently, although the browser should understand the photo is in sRGB by default and show the same colors that are in Photoshop, right? So what happens here, because the colors are not the same? What information does Photoshop assign to the embed color profile that makes the colors so different?
Anyway, I assume the problem here seems to be my newly calibrated monitor profile. The only way I can get the same colors to my photo in Photoshop and to a photo in web is to use soft proofing set to my Monitor RGB AND save without a color profile. Is this the way to go? But here comes another problem. I shoot in RAW and use camera raw to edit my photos. Camera Raw doesn't allow soft proofing, so I'm stuck with these color managed colors that are so different from non-color managed colors I get in my browser that any color correction in Camera Raw is simply useless. Unless everyone was using color managed browsers and I could start to use fully color managed workflow, but that's not the case I suppose. So, what's the solution here?

First off, you need to be working in sRGB, or converting to sRGB when you save out files that are destined for the web. You can change the color space that Camera Raw (ACR) send your raw files to by clicking the blue text in the bottom center of the ACR window. This is probably that safest workflow for you until you get a handle on color management. If the color of your images is very important, you might consider embedding a color profile in them, which will help color managed browsers render your color properly.
If your display's color gamut is different than sRGB (many are), you'll find matching colors for non-color-managed browsers to be impossible. But consider the average display and take heart. The best you can do is correct to a standard and hope for the best.
Both the convert to sRGB and embed color profile options are in the save for web dialogue box.
More about the ACR workflow options here:
http://help.adobe.com/en_US/Photoshop/11.0/WS739D7239-24A7-452b-92F9-80481C544F25.html
More about matching colors for the web:
http://help.adobe.com/en_US/Photoshop/11.0/WSB3484C68-ECD2-4fa4-B7CC-447A5FE86680.html
http://help.adobe.com/en_US/Photoshop/11.0/WSD3F5E059-4F51-4b44-8566-13B854D3DF5F.html
http://help.adobe.com/en_US/Photoshop/11.0/WS0B3CD652-4675-44be-9E10-445EB83C60BA.html

Best workflow for converting HD footage for broadcast?

I've been banging around the forums for a while tonight looking for someone who's been down this road before, but to no avail. Here goes...
We shoot a weekly "Top 20" show using a Sony XDCAM EX-1 @ 1080p. It's a Top 20 video countdown show, which means that along with my footage (a DJ in a studio as your Top 20 host), I incorporate graphics and music videos ripped from DVD's. The final product from all of this winds up on a local cable channel, which broadcasts SD.
I use the Sony XDCAM Xfer software to convert the data from the SxS card to QT files. (So far, so good.) I open up FCP and place these files into my project. Once I drag one of these clips into my timeline, I'm asked by FCP if I want to change the sequence settings to match the clip I'm putting onto the timeline. I answer "No" (because I've preset the FCP sequence settings to 720x480, since the cable channel broadcasts in SD. Could this be where I'm screwing up?) I bring everything into the timeline (including the ripped videos) and get everything edited nice and tight. But wait...
I've been staring at my Mac monitor this whole time. When I play the project back and look at it using the broadcast monitor, well...it looks sorta sick. Certainly not what I would expect from HD-to-SD footage. Everything looks pixelated and sorta blurry. If it looks this way in the studio, you can imagine what it looks like when it airs on TV. It's not pleasing to the eye.
I would ask about what the best way is to deliver a show like this to a cable channel, but since the stuff on my broadcast monitor looks so crappy, the problem's gotta be home-grown. What am I leaving out?

If you know you are going SD why film in HD at all?
Its not like you are going to be re-airing your shows down the road in HD,
Most likely, the video's you are ripping from DVD are not HD either...
Depending on the deck you are exporting your show to, some of them have a down convert feature, mine does Sony HVR-M25U.
I have a weekly show I do, but I do it all in SD until the channels it broadcasts on will take HD footage.
Though if I am doing a commercial, I usually shoot it HD and leave it HD

Workflow for converting PAL DVD to NTSC

Hi,
I have read this thread
"http://discussions.apple.com/message.jspa?messageID=7387015#7387015"
but am a little unclear and would appreciate some help.
I have shot 3 short movies in PAL anamorphic, edited in Final Cut Express HD 3.5, exported using the Quicktime Movie option, altered with QT Pro to put back to anamorphic, then added to an iDVD '08 widescreen project.
Everything is fine, but I have realised that some of the recipients are in the Bahamas and require NTSC.
The project is a paid commission so I want to ensure the conversion is as good as possible, without any re-digitising / editing.
I duplicated my iDVD project and have used the project info pane to change to NTSC format. I deleted the encoded assets and this has set of iDVD to re-encode. Is a re-burn all that is required once encoding is done?
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Modification to these quicktimes (ie. a re-edit and export from Final Cut) would usually result in iDVD updating its content upon open.
Am I on the right track?
I have had a quick look at JES. I have added a file to convert and looked at the projects tab.
Do I just have to choose "Standards conversion" & select "NTSC"? What should I set out of "Blend, Telecine or Minimal Blend" for best quality.
I am using an Intel iMac with 2gb of memory.
Thanks
Eric

Thanks for responding. I am currently trying a few options in JES but I was wondering if you have any idea of the best options to select.
I have tried the Export radio button option to DV Stream and Quicktime, but the resulting output is quite a bit smaller than the Final Cut Express Movie File that is the source. I am concerned the quality is reducing.
I am now using the Direct / DV-NTSC output option to see the file size of that.
With regards to iDVD, that process took a hour or so for the automatic re-encode of the project assets and then a burn. It seems to play fine on my MacBook, and there appears to be no detectable degradation. The process seems fine. Has Apple caught up with JES Deinterlacer, or is the benefit not appreciable when not using HD footage or better?
Thanks
Eric

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I shot footage with the Canon 7D. I brought the footage to Compressor (latest version as part of Final Cut Studio). I am transcoding the footage to Apple Pro Res 422 HQ for editing in Final Cut Pro 7.
A few clips have been transcoded. I open up the original file and the Pro Res HQ file and compare them side by side on my Mac Book Pro. I would like to attach the screenshot but don't think I can do it that here. Anyway, the Pro Res clip is slightly smaller when opened with Quicktime 7 and 10. Also, the colors seem to be darker and the clip a lot muddier than before.
Has anyone had any experience with this? Thanks.

My clips do experience a slight color shift but nothing nominal. However, I have no problems converting my files using the preset and opening them up in FCP 7. When I open them in QTX they appear the same size as their original. Have you checked the inspector pane on your MBP? I have had issues where QTX will not open a video full size due to screen resolution limitations and would always downsize instead. That could be your issue since the MBP cannot display a 1080p file at full resolution.

Workflow for converting 4X3SD to 16X9 HD?

I have 4X3 SD material on tape. I'd like to convert it to 16X9 HD.
Can you give me a basic workflow regarding capture settings, sequence settings, etc? I realize cropping and repositioning will be part of the process.
Thanks in advance.

Correct. The HD Capture card will be doing the conversion for you. Far better quality than software conversion. Although I do recommend the AJA Kona 3 over the Decklink cards. It can capture SD to 20p or 1080i, and cross convert 720p to 1080i or the reverse. The Decklink cards cannot cross convert, or capture to 720p. Plus the upconvert process is easier with the Kona, in my experience. The Software is very straight forward.
By that I mean the 4X3 frame will be cropped at the top and bottom in order to fit the 16X9 HD frame.
You can either crop off the top and bottom, or capture as "pillar box" leaving black on the sides. I tend to crop off the top and bottom.
I may want to use the top part for some shots and the bottom for others (which I figured I do by keyframing).
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Shane

Recommended Workflow for Converting from .avi to .m4v

I would like to take an edited .avi file and prepare it for playing on both iPods and in QuickTime/iTunes. I downloaded the trial version of PE7 to see if I could use it for this. From what I understand and have tried out, I can create an h.264 (MPEG-4, part 10) .mp4 file using PE7. What is the best way to convert this to the .m4v format? My OS is Windows Vista Ultimate. I tried using iTunes to convert it, but the resulting file did not play smoothly. I also tried downloading MPEG Streamclip and found I could not play the .mp4 file smoothly.
Am I sacrificing quality by starting with a tool that cannot export to .m4v, namely PE7?

Thank you so much. I appreciate your time very much. That link is quite interesting and will help me understand what I'm dealing with better.
I'm doing this for a podcast, so I need to have one file that will work for everyone who has iTunes or an iPod to include in the rss feed as an enclosure. I don't want to maintain two feeds.
So I think I'm going to try QuickTime Pro and hope that solves my woes.
I'm wondering now if I should still buy PE7 for editing. I like the product and have spent some time with it now. Of course, I wish I could do everything just in PE7 but don't think that's possible at this point.
So I still have a question about the workflow if anyone can help. Just to clarify, if I import .avi files into PE7 and do some editing, then can I just export to .avi and then open the new .avi file in QuickTime? Is that the workflow I would use? I'm assuming that QuickTime Pro can de-interlace the video, change the pixel aspect ratio, and allow me to make other adjustments to reduce the file size. I would export from QuickTime as .mp4 and hope that .mp4 files that QuickTime renders will work in the latest version of the QuickTime player. Otherwise, I'll have to export to .m4v, which I don't think can be used by other players???
Anyway, I think I'm on the road to a solution. Hopefully, QuickTime Pro won't have similar issues.
Thanks again for your time and advice.

Workflow for converting NTSC to PAL with Premiere/AME

Hi everyone,
After searching the forums, I see that to convert NTSC to PAL for standard def DVD, most recommend using Canopus Procoder software for the MPEG2 encoding, or using a hardware based solution. I don't have the money for those options, so I was hoping you could clear up something for me. Which of these options is best?:
Option #1: import the NTSC footage into Premiere and edit on a NTSC timeline with settings matching the original footage. Then use Adobe Media Encoder to encode a PAL format MPEG2 file for the standard def DVD.
Option #2: import the NTSC footage into Premiere and edit on a timeline set up with PAL resolution and framerate settings, and simply scale up the NTSC footage to match the larger PAL resolution. Then use Adobe Media Encoder to encode a PAL format MPEG2 file for the standard def DVD.
Thanks for the help!!
Mike
Intel i7-930 2.8GHz
12 GB RAM
1 GB VRAM
Adobe CS 5

pal to ntsc is not quite the same as ntsc to pal.
pal has more scanlines and there for makes a better end result to ntsc than ntsc to pal.
Usually ntsc converted to pal does not look very good on a tv.
That's why i recommend to leave it in ntsc, most pal players can be switched to ntsc.

Best workflow for converting NTSC tv show to PAL?

The company I work for edits a TV show in DVCPRO HD 1080i60. We distribute it to a station in Europe, and for about a year we've sent them the programs on DVCAM tape, 16:9 letterbox, NTSC, rendered in a 720x480 sequence, 29.97 fps. I figured they took care of the process of switching it PAL since they never asked us to do anything differently.
Well now they have. Now any tape we send them needs to be in 16:9 anamorphic and PAL.
In regards to the first issue, changing to 16:9 anamorphic seems as simple as clicking the Anamorphic check box in the sequence settings. But the PAL issue has me stumped. An engineer friend told me that all I should have to do is print the program to a PAL DVCAM deck, and that should do the trick. So my thinking is that I export the program as a DVCPRO HD Quicktime file, put that into a PAL 16:9 anamorphic sequence, and print to tape using a PAL deck.
Anything I'm missing? Is it as simple as that or more complicated? Any thoughts are welcome.
jesse.

Sorry fellow Missoulian, it is NOT that simple. FCP doesn't convert the frames rates properly...the proper pulldown removal, frame rate conversion does not happen well in FCP. If you have Avid 4.0...it would. That version does this VERY well. BUT, we are talking FCP.
Best option, output NTSC and send to a dub house to have the conversion done on proper machinery. Bill the client for this dub...unless it is part of the deliverable and therefore part of the money they pay you. If they changed the deliverable to require this conversion, then they should be then paying more money so that you can have this conversion done right.
Second best option, export a self contained QT file, and use Compressor to do the conversion, frame settings set to FULL. The drawback? This takes a LOT of time. And you will have to do tests to see if it looks right, and adjust settings to match.
ME? I send it out of house to be dubbed. But you are in Missoula where that doesn't exist, and finding someone with a KONA/DECKLINK/MATROX card is a challenge.
Shane

Workflow for converting english titles to french in livetype and motion

Hi everyone,
I am about to embark on a french version of a 20 minute video and I'm looking for some advice.
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So, that got me thinking.... I'd like to change the english titles to a french version and take advantage of the automatic updating in FCP. But how do I protect my english master?
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Cheers and Happy Holidays.
Chris

Hi Everyone,
I want to provide an update on my progress for those who might be interested.
I have some 50 english titles in this project, some motion and some livetype and some boris.
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I've made a duplicate of my english master timeline and here's where it gets interesting.
I'm finding that if I "right click" on the title in the timeline to open it in the Editor to make changes, it opens the original english title, thus putting my english version in jeopardy! I'm guessing because I simply made a copy of the english version.
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Can someone let me know if I'm on the right track?
Cheers,
Chris

Workflow for INBOUND IDOC

Hi,
I want to set you a workflow for one IBOUND idoc coming via edi partner. I want to use the organization units and then assign the user to it. what are the steps required for setting up a new workflow totally from the start for a IDOC / Message type and config.
Thanks in adv
/Manik

STEP 1.       USE   SALE -> Error Handling
STEP 2.   Go To Basic Workflow Settings.Use Auto-customise button to allow the system to configure most of the options.
STEP 3
a)Go to SAP MENU -> TOOLS-> BUSINESS WORKFLOW ->
DEVELOPMENT ->DEFINITION TOOLS->TASKS
b) Create a customised task putting IDOCCLFMAS for example   as object type and    INPUTFOREGROUND as object method.
c)Associate the triggring event InputErrorOccurred with the standard task.
d)Associate the terminating event InputFinished with the standard task
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Regarding the complete set up you can check the workflow tutorial in help.sap.com.
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Is it wise to keep the Nikon camera files "DSC's" after downloading them and converting to DNG files via Adobe converter for lightroom use. In other words do the DNG files have all the raw data I would ever need in processing or should I save the camera'

Is it wise to keep the Nikon camera files "DSC's" after downloading them and converting to DNG files via Adobe converter for lightroom use. In other words do the DNG files have all the raw data I would ever need in processing or should I save the camera's DSC files?

DNG files do not contain some metadata supplied by the camera, which can be used by the manufacturer's software. Thus, if you don't keep the original Raw photo, you will lose this information.
If your 1000% sure you're never going to use the manufacturer's software, then this isn't a problem. But who can be sure what software you will be using 10 years from now?

Recommend workflow for progressive HD footage

I have to edit down some footage shot on XDCAM EX 1080p30. The end result will be PAL SD on DVCAM. I have the workflow for getting to PAL SD using Compressor, but I am wondering where the best place to go from progressive to interlaced is. My instinct tells me to leave it to the very last stage when I output the video to tape via a DV timeline. I am converting the XDCAM to ProRes in the first instance and staying in ProRes to PAL SD.

that's what I'd do. Compressor works just fine for the conversions to PAL

Best "Capture" workflow for projects mixing HDV tape and XDCAM footage

I'm trying to determine the best workflow for projects that combine XDCAM and HDV footage.
I'd obviously do the editing in a project designed for XDCAM, as that's the higher quality footage,
and render the HDV clips in the XDCAM timeline...ending up with an XDCAM end product.
I'd use SONY'S XDCAM TRANSFER to get the clips into FCP.
My question concerns capturing the HDV footage in this scenario. I've never been able to get
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Is there something I'm missing or a more streamlined way of doing this?
Thanks in advance for any input.

No need to jump through these hoops. Just set yourself up with a universal Easy Setup that will handle both. Choose your regular XDCAM HD Easy Setup then open the Audio / Video Settings window and change the Capture Preset to "HDV" and the Device Control Preset to "HDV Firewire" ... then click the "Create Easy Setup" button and save it for recall whenever needed.
Regarding the overall workflow, I'd seriously question the idea of creating XDCAM HD masters. No real benefit to that unless you need to export to XDCAM HD. Much better would be export your final master as Apple ProRes 422.
Best
Andy

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Hi all...
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4: (and last, I hope) "Interlaced Scaling" is checked & "Deinterlace Video" is unchecked. I'm not sure if this is Progressive or Interlaced footage. Anyone know how to find out & what the correct settings for those are?
THANK YOU : )

Funny that you sent me those links, I actually read them both a few hours ago & that was what led me to use Streamclip for that footage in the first place. Certainly makes me feel better to have these settings confirmed by the original author (just realized that)! Small world : )
And in regards to the Reinterlace Chroma, since this footage came out nicely, I'm guessing the others will too since they are all from the same source (probably similar to your cam for the motorcycles). But what exactly does that setting do?

Workflow for converting SonyHD Cam footage via KonaLHe to DVCPro HD?

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