XDCAM Capture

I have been trying to capture XDCAM footage at
35Mbits (VBR) however when I go to capture the footage there is no cdec to support it. The main way I have been trying to captur the footage is by going through the file > Import> Sony XDCAM on FCP but it keeps coming up with the NO Codec on the thumbnails .Furthermore there is no option in the Easy Setup menu. All I have are the CBR settings and the IMX settings.
I am running FCP version 5.0.4 - would this make a difference if I upgraded the version of this to a later version?
Many thanks

as Shane already said, the 35 Mbps (and 18 MBps) support was not added until FCP version 5.1.2, so you will want to upgrade asap (before the current upgrade offer expires) or wait it out and see what turns up at NAB ... either way its going to mean parting with some cash, to get this codec support.
you'll also want to download the latest version of the XDCAM Transfer software, version 1.1, includes some XDCAM Easy Setups for the new codecs.

Similar Messages

My audio gets out of sync with my video after capturing from Sony XDCAM

Everything was fine. I captured content from my Sony XDCAM, created pieces, no problem. Imported a .mov from my older FCP (5.1.4). FCP told me I needed to change my settings in order to use the .mov with my current timeline. I said OK, fine. Now, when I capture from my XDCAM some of the audio is in sync but it goes out fairly quickly. Any Ideas? I noticed in the bin the clips which are out of sync have a different data rate then the good ones. HELP!

Everything was fine. I captured content from my Sony XDCAM, created pieces, no problem. Imported a .mov from my older FCP (5.1.4). FCP told me I needed to change my settings in order to use the .mov with my current timeline. I said OK, fine. Now, when I capture from my XDCAM some of the audio is in sync but it goes out fairly quickly. Any Ideas? I noticed in the bin the clips which are out of sync have a different data rate then the good ones. HELP!

Capturing with xdcam

Hi,
what setting do I use to capture from xdcam??? ( optical disk)
Thanks for any insight you can provide!
Leigh

There's also a variety of 3rd party products that help with XDCam proxy ingestion into Final Cut. One such one is Flip4Mac (i think it's called). Haven't used it myself but have read some very good reviews of the product.
Depending on the model of your deck, the proxy import speed can vary. The lower end models import speed is limited by a Firewire 400 connection. The higher end models have a gigabit ethernet connection effectively doubling the import speed if I recall the reviews correctly. The higher end models can also be setup in a remote location with remote control used through the gigabit ethernet port.
Also for deck configuration/setup, menu option 215 is used to set the deck for proxy import (FAM) or act as a normal video deck (AV/C). If using it as a video deck, option 214 is required as it sets whether deck control is done through the RS-422 port or through the Firewire 400 port.

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
the Log and Capture feature for HDV footage to work, unless I've created an HDV project and am capturing into that HDV project.
So, generally, I create an HDV project, open the log and capture utility which is now set to capture HDV, and then capture the footage. I then close that project and create a new project, designed for XDCAM footage. I use XDCAM Transfer to get the XDCAM footage into the project, and I import
the previously captured HDV footage into that browser and start editing, rendering the HDV in the XDCAM timeline.
My question...do I really have to open, what is essentially a "fake" HDV project just to capture that HDV footage? You don't seem to have the option of capturing HDV footage (out of a camera or HDV tape deck) directly into an XDCAM project. If I try to change the capture or audio video settings of the XDCAM project to HDV, you get messages saying you can't do it.
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

Viewing timecode from xdcam and capture frame

Hi,
I'm looking for a way to view xdcam discs in the mediabrowser and search for a timecode without having to read the whole disc. I just need to grab stills from some of the clips on there. Is there a way to do this?
Greets and thanks,
Arno Doup

Hi Arno,
You might try a partial ingest in Adobe Prelude. Can you try that?
Thanks,
Kevin

DVC Pro 720p 24 captured at 1080p 30 onto XDCAM 1080p24 timeline?

Just finished a three camera shoot with an EX1, EX3, and an HVX200. The HVX was set to capture at 24p, but the firestore it was connected to was recording at 1080p30.
On the HVX footage i am getting horizontal lines about every third frame (pulldown?) and am not sure how to get the footage to look good and play well with the media that came off the Sony cameras.
So, am i hosed? is there a compression for the HVX footage that will kill the lines? do i need to send all the footage through compressor to get a common, pretty encode? My compressor skills are not stellar, so please be as overt as possible.
FYI, distribution for the final product will be web for sure and possibly DVD.
I am happy to provide any additional info and will be cross posting to the Compressor discussion as well.
many thanks.

The HVX was set to capture at 24p, but the firestore it was connected to was recording at 1080p30.
Are you sure? It might be 1080i60 with the film look. 1080i 24p just records the footage to have the 24p look in a 30 frame format. Only 1080i 24pA can have the option to remove pulldown upon import to get to 23.98. And only if you record as P2 files, not QT. If you record as QT, the 1080i 29.97 is all you can do.
On the HVX footage i am getting horizontal lines about every third frame (pulldown?) and am not sure how to get the footage to look good and play well with the media that came off the Sony cameras
Correct...this is the normal 3:2 pulldown associated with recording 24p onto a 30 frame format. This looks perfectly normal on an external TV or broadcast monitor. This begs the question, what format did you record the EX camera footage? it is really 23.98, or also 1080i60 with 24p footage?
So, am i hosed?
I don't see how. This is normal for the settings you shot. It will look fine on a TV monitor. FCP doesn't show interlacing well, as computer monitors are progressive only.
Shane

Long HDV and XDCAM clips through Final Cut Server

Hi,
I know that I could post this in Compressor and/or Quicktime and/or Leopard/Tiger Forums, but as this problem it`s causing my Final Cut Server to not working well, I think it makes sense to post here.
To resume: HDV and XDCAM clips (all on original codec, only xdcam transferred to mov in xdcam transfer) with file size bigger than exactly 4GB always FAILS in "Final Cut Server"/"Compressor alone in ANY machine installed from scratch"/"Anything that uses Quicktime". Source and Destination being localy or networked. DV or DV50 can get bigger than that, I`ve never seen this error with DV`s codecs.
I had seen this problem before I bought final cut server. When I was transcoding our interviews for transcription. We always worked with BETA SP and captured in DV or DV50. We were starting to go to HDV and now to XDCAM and this error has started to appear.
I have a "proxy" made a year ago from a HDV and it`s original has 8GB. I tried this file again and as I expected didn`t work. In ANY computer with any installations with only the latest updates. I`ve remembered that I was using Tiger at this time, and Quicktime/Tiger/ProApps had a old version.
My two cents are that some update from Tiger/Leopard/QuickTime/ProApps made this happen.
So ANY HDV/XDCAM file bigger than 4GB it`s FAILING in ANY system. (Tiger or Leopard, With or without FCP and QT PRO, Installed from scratch and updated every thing).
Some tests I`ve made:
-Compressor works with this two codecs to lower res in TIGER and with QuickTime Version 7.4.0 and LOWER. (had to be tested, but I think that was my version of QT when I managed to make the proxy of this two codecs).
-Compressor doesn`t work on any system with QT above 7.4.0.
-CATDV (http://www.squarebox.co.uk/) version 6 can make proxy versions of this two codecs in TIGER ONLY! They already know of this problem and CATDV 7 works on both.
-Compressing in compressor with H.264 (same codec as the FCSvr proxy) BUT without changing the resolution, size and etc. Works OK in both Tiger and Leopard.
-Exporting through QT works in ANY system BUT I loose TC, so it`s not an option (and I can`t input this workflow in FCSvr without using compressor).
-Exporting from FCP as QuickTime Movie with H.264 doesn`t work on Both (Tiger and Leopard).
-Exporting fro FCP as QuickTime Conversion with H.264 works but as exporting from QT I loose TC and can`t input this into FCSvr workflow.
Error message are always: "QuickTime error = -50" or "QuickTime error: corrupted data" (and of course it`s not corrupted because it`s used - even in FCP to edit - and opened viewed, catdv can do proxy and everything).
I`m surprised not to see anyone freaking out about this issue... I don`t think that It`s only me.
This is some problems that I came across while trying to find a solution:
http://www.paulescandon.com/blog/?p=39
http://discussions.apple.com/thread.jspa?messageID=4912265&#4912265
http://www.squarebox.co.uk/faq155.html
http://discussions.apple.com/thread.jspa?messageID=5513003&#5513003
http://discussions.apple.com/thread.jspa?threadID=1903644&tstart=0
http://discussions.apple.com/thread.jspa?threadID=1780228
http://discussions.apple.com/thread.jspa?threadID=1853507
As you can see this is not the first time I`ve posted about this issue.
I`m sending a bug report as well.
Thank You all in advance.
Regards

Hi Chará!
We should, but I think the others will be disappointed eheheheh.
It doesn`t matter what version of Leopard I`m using (right know I`m using Leopard Server 10.5.6, but this issue has happened even with 10.4 if QT is updated and all updates of 10.5 up, as I`
ve mentioned above).
What file size are those clips that are longer than 10min?
I really don`t get, how it`s possible that just the two of us has HDV and XDCAM files with file size longer than usual? Maybe people that do interviews don`t like to record the entire interview and when capturing those clips would be under this file size limit? Or maybe we are the only ones in the whole world that transcode longer HDV and XDCAM clips (it`s funny that it doesn`t even need to be FCSrv, with only ONE machine and compressor this issue happens all the time).
I`m convinced that I have to install a Tiger version in a virtual machine with compressor and doesn`t update anything to test this further on. But I`m certain that with TIGER and CATDV this works ok! And I think that CATDV uses QT engine to do this transcodes.
This is too much of a mystery to me. Maybe it`s time to spend 24+ hours with apple in a international call and probably not getting anywhere.
I`m only posting this here in FCSrv forum because this issue it`s must worse when you have hundreds of clips with this issue and if you bought the package it doen`t matter if it`s a problem with QT+OSX or whatever, apple has to solve it for FCSrv use.
Do you reckon?
Let`s get in touch through email: lucas at rwcine.com.br
(at = @ and delete spaces).
Regards

I Need Suggestions On Capturing, Timeline Settings and Final Rendering

Okay folks, this is me confused! I've been editing videos for the past two years and that isn't saying much as I've only trained myself through trial and error and reading manuals. I simply pretend that I know what I am talking about:) I have purchased the 5D Mark II and have FCP7. I think I'm doing okay, but I know there must be a better way of doing things and need help in doing so.
I film 1920x1080 30fps. I capture my footage with the default settings on the EOS disc that comes with the camera (works great), then I run my footage through MPEG Streamclip and convert them to XDCAM HD 30. From there I allow FCP to auto set the timeline to match the footage and then I edit away. So far so good and I'm really not complaining. However, since I have been making things up as I go along for so long, I have several missing pieces to my understanding of best quality film. I've been trying to figure out the use of ProRes codecs. My limited understanding (what I've heard and read) is that ProRes provides some of the highest quality. So my question is, should I then scratch the XDCAM codec conversion and go straight to ProRes, then edit ProRes and then final render as such? I'm confused because there are people that have said that you should edit in a lesser format and then render in the higher quality of ProRes since ProRes takes up more space on the hard drive (bigger files), yet, when I read official info on ProRes, the claim is that the files are small. So there is confusion number one. Then, confusion two, is if I edit in XDCAM or ProRes, what then? Meaning, is it best to send to compressor upon rendering or do I send it to QT or QT Conversion and then send that file to Compressor, or do I leave it at that and send to DVDSP? I know this is elementary, but all the conversations that I have found seem to be based on the understanding that I should already know this. So, I'm embarrased to say, I don't know, "this".
I have however, taken an edited a XDCAM timeline and then changed the Render Setting to ProRes and sent it to QT or QT Conversion (I can't remember which one sorry). The video had some text at the very end, and it looked incredibly jagged (no bueno). So I know that I was assuming or doing something wrong, and my "trial and error" has run its course as I have nearly run out of time. Therefore, I call upon the Discussion Board for help.
To sum up my questions:
1. Should I convert to ProRes to begin with instead of XDCAM?
2. Do I edit in ProRes and what should I make the settings for the Sequence (or should I allow FCP to auto select based on video files settings)?
3. What next? Do I send that sequence to QT, QT Conversion or to Compressor? If QT or QT Conversion, should I send it to Compressor after that?
4. What should I have my settings be over all on my Sequence?
I hope I'm not too annoying with my questions, and any help would be great.
Thanks,
Crayton

1. Yes, absolutely. By immediately converting to a long gop format you are throwing away TONS of information.
2. Auto-select. By all means match clip and sequence settings
3. You haven't said what your deliverable is, so can't advise you how to export.
4. See #2.
Pro-rez will be larger files than what you are getting from the camera. Get used to it, drives are cheap.

Capture Video from Panasonic AG-HMC40

I am having trouble capturing video from my camera - Panasonic AG-HMC40 HD camera
I keep getting a message: Capture Device Offline.
I am able to capture from iMovie and Final Cut X....
Does anyone know the correct capture settings?

You don't have to capture. You ingest.
IE: Copy files from your camera memory card onto your hard drive using the media browser.
See extract from Adobe Help below:
Import assets from file-based sources with Media Browser
You can import assets into Premiere Pro directly from tapeless media. However, it is more efficient to transfer tapeless media contents to a hard disk before importing. Also, playback performance is much better from a dedicated internal hard drive or RAID than from a camera or memory card reader.
Use the Media Browser, instead of File > Import, to import files from tapeless sources. The Media Browser assembles the relevant files into coherent clips, and does not import irrelevant non-media files sometimes found in the folders of tapeless media.
(Optional) Transfer the entire contents of one or more P2 cards, Sony Compact Flash cards, XDCAM media, XDCAM EX SxS cards, hard disk camcorders, DVDs, or AVCHD media to a hard disk. For information about transferring these media, see About transferring files.
Note: For XDCAM EX, copy the entire BPAV folder and its contents, not just one MP4 file at a time.
If the Media Browser is not already open, select Window > Media Browser. Note: You can dock or group the Media Browser like any other panel in Premiere Pro.
Browse to the folder containing the media files. The Media Browser shows a thumbnail or icon (depending on the format) and shot name for each shot in the folder. The Media Browser automatically aggregates spanned clips and shot metadata from the subfolders into single clips for any of these formats. The Media Browser shows different sets of metadata for different formats.
(Optional) To preview a shot before importing it, double-click the shot in the Media Browser. Premiere Pro plays the clip in the Source Monitor without importing it into the Project panel.
Either select File > Import From Browser, drag clips from the Media Browser into the Project panel, or drag clips from the Media Browser into a timeline.
The asset or assets are imported into the Project panel as whole clips.

Wrong aspect ratio with ProRes capture

Capturing tape from a panasonic DVX100A shot 24pAdvanced squeeze. When I capture with the DV/DVCPRO codec (using the anamorphic setting) the footage comes in the correct aspect ratio in the project, and the quicktme clip in the finder is the correct aspect ratio also (16:9). However if I capture with the same NTSC anamorphic setting in the ProRes 422 codec, the clip is the correct aspect ratio in the project, but the quicktime file in the finder still has a squeezed look. I understand that the ProRes codec is much better quality, but it is very inconvenient to have all the quicktime files the wrong aspect ratio. This footage will be shared among many projects, and it could be a problem going forward. Any way to get the ProRes codec to create the quicktime file with the correct aspect ratio?
Thanks.

For anyone following the thread, I found this forum from Ken Stone, with a couple folks (including Ken) saying that the DVCPro codec is basically indistiguishable from ProRes. So I will be using that codec on these tapes.
"Before ProRes came alomg, many people transcoded to DVCPRO HD (and DVCPRO 50), from Interframe, long GOP formats and other formats as well. DVCPRO HD is 4:2:2, Intra frame with a bandwidth of 100 Mbits, excellent. The only difference between DVCPRO HD and ProRes is that ProRes is 10 bit and DVCPRO HD is 8 bit, but ProRes has a higher bandwidth of 144 and 220 Mbits (HQ).
Now we have ProRes which is an excellent alternative for HDV and XDCAM EX, etc. Everytime we transcode to a different codec we do lose something, so I would think that because these two formats are so very close I would stay in DVCPRO HD and not 'lose' any quality by transcoding to ProRes.
For me, FCP has always loved DVCPRO HD and runs it like a dream.
My 2 cents.
--ken "

Shot in 4:3 and captured in 16:9

I made the biggest rookie mistake of my life and now I'm trying to be lazy and get out of it without having to recut. I shot some standard footage in 4:3 and as a habit of only doing 16:9 projects forgot to change the capture setting to 4:3 so my footage was captured in 16:9. Is there anyway without recapturing the footage to convert the 16:9 footage back to 4:3? I cannot believe I did that but am trying to get this project out the door because it was a freebie. Thanks for any advice.

David Bogie Chq-1 wrote:
but wouldn't the anamorphic distortion have been totally visible...
No. while you are capturing sd you always see the 4:3 full frame. as it is on tape. If the footage is anamorphic you'll see a 4:3 frame with tall people and objects.
When you capture as anamorphic the only thing you realy do is tell fcp to treat the footage as being anamorphic, because fcp cannot see the difference. Because both 4:3 and 16:9 are 720x576 (sorry, I choose PAL for exemple). So it's just a flag for fcp to know how to deal with it.
Change the flag and all is right again.
... I suspect it's not just plain old DV.
This whole story counts for all Standard Defenition footage. DV, digital betacam, xdcam, etc
Rienk

XDCAM EX / DVD How Can I Improve on this?

Well, hindsight's 20/20 and if I was starting a new project I wouldn't start from where I am now.
But the ugly fact remains, I have a project shot on an EX1 - currently on my timeline as stunning footage but as you may have read elswhere, I'm horrified by the resulting DVD.
The footage is for a sheepdog training DVD - and not helped by the shiny steel fencing +(sheep hurdles)+. Ironically, they are available in back +(if only)+.
Funds are severely limited but I'm willing to invest in a Mac Pro, Capture Card, and maybe even a (SDI-IN) VTR if it will definitely help improve on the quality of this +(10.6 Mb)+ m2v:
http://www.workingsheepdog.co.uk/video/080710Ray6-ExpTest-12s18fr.m2v
This is the best I have managed to achieve using Compressor +(and I must have tried just about every setting possible)+. If you think it looks OK, try viewing it on DVD!
The original +(52.9 Mb)+ XDCAM EX file is here:
http://www.workingsheepdog.co.uk/video/080710Ray6-ExpTest-12s18fr.mov
If anyone feels inclined to run that file through a downconvert process and let me know if +(and how)+ their results show any improvement, I would be most grateful.

This is an example of what I get with the first link (both just clicking on it or downloading it)...
@3|#!µŠµ#B¸-!@ÿøµÿóQ€ù™ )² x¼ùoóå›Ð «ÔÄ.n””Ì0 €Ã“ ²@.%$å\JA0šlX``jI¸–Y3¤”‚Ñ‚ZòÁ¡£pÄ>s¹ÎÜqö `€tÔD2`É„ €À €U� dÄ$˜€Ð� ¢k%”övÉ$ßIh±»êŸ|HQç°°ê£ß! dPah-)åCJJ &€€†€ÀJ `0L!“]) BS™*Up@ý@A’’PJ!¤…’MI{äÀe¸Ñ¸0n-#K Vß1ºÂ˜©gÀN€‰…”B< Ñ4‡ƒ¦&ÃX5(- á¹|caˆŒ·‚è˜„Â€NM(4`P˜LHdÂÿO!’Ë@Î3”LNÌ…ò ›¨ûkjØ½ª?®‚è€€^œ¬ @§ †œÔâø€¡@SŸÒé(¤‡º ü x@@û@°`¨Ð`$ ‚X† Hd %€€ „* H1 ¼…ù5òRBÛò¯¢¤ö¨¢÷cOÎ})ID-¶ïŒøqÎzê,Û!É+„[RxIéám2@©5'–X~X¤ô°ue€bŒvþ£ÂI€OL’É˜ .ÛI÷Ï€Ÿ-y,0 .nPûL2v[0 ÿ3jŠŒC!`?°x•T„öÖ¤÷ôŽ ÍóÀ'N3ª<…•€þ� ,®n·Óvš@`à~”Çã*.j€þ†Á‰7],²f /0| @v¿ø™¤âyÅà ;,õ˜p°9Qó˜¬lZ1·I T5'§Ä–'Âãƒ2tp€òøåQ� ÙXë¸rÀ%H_¦&—€J¿Ü à ;à<'t have (and in the middle of ongoing workloads, am unwilling to try)
Can you let us know which component is required? (might be available on Leopard/FCS2, but I'm on Tiger/FCS1)
Again, hopefully others will chime in with beneficial insights.
K
EDIT - I'm guessing the XDCam EX format has something to do with the QT component I don't have.
BTW, our neighbors have a Border Collie...great dog...and fast. Cute puppies.
Message was edited by: Kevan D. Holdsworth

Batch List: How to capture clips inc info, from disk instead of tape

We have a client's edit log on Excel, including reel no, in/out, scene, description, log note etc. Usually we import this batch list to FCP, then batch capture from DVCAM tapes, so all clips have all their info - great.
In this case, the material is already digitised and the client has logged from DVDs burned with timecode from the digitised material being placed in FCP sequencecs with timecode generator filter.
Is there a way to 'batch capture' clips from the digitised material, so that we keep all the client logging info, as we would if we were capturing from tape?

Shane has got it right - we want to automatically build a sequence using that batch list. Or somehow have FCP make new clips or subclips from already captured footage... so if your verdict is right Shane, looks like we may have to go the manual route...
although - just occurred to me - for each clip, I could go to the digitised source sequence, duplicate it, open copy in timeline, enter clip's in and out tc in the viewer - and that will give me a copy of each clip as a sequence - rename that sequence as per the clip, and we're done.
But it's still of course more laborious than batch capture from tape; this is a concern going forward as we are switching to XDCAM EX, so of course the route to enable this client-edit-logging ( http://www.creationvideo.co.uk/info/timecode/ ) that we've always offered clients is no longer valid as the material is already online....
Any suggestions still welcome!

PP CS5 XDCAM Workflow

I've read the pdf about XDCAM workflow.
It says you connect the XDCAM and you can read it's clips like files.
Fine, but it does not give any steps in how to actually accomplish that.
I can read from XDCAM like before; as if it is a tape deck with RS442 COM port control.
I can't write to XDCAM as if it is a tape deck; everything happens like normal but there's no video written to disc.
The older adobe/axio system could write like a tape deck AND drop files back via ftp BUT without any timecode which made that option unusable.
So, I guess I need to drop files back onto XDCAM with PP CS5. The new pdf says timecode is added too.
HOW?
It says use USB. My PDW1500 has no USB port.
>>> Could someone give a step by step guide in which is explained how to:
Hook up the PDW1500 to a Matrox CS5 PC and prepare it for file transfer.
Transfer files from XDCAM to Premiere's RAID
Transfer master timelines from Premiere to XDCAM disc with timecode.
Or write back to XDCAM like to a tape deck (as an alternative if timecode can't be added)
Please do not point to generic files that state you can work like this. I need to know HOW to work like this with XDCAM.

The 1500 is an optical drive which works with rewritable blue ray discs
The SxS driver has noting to do with my deck.
The other software looks kind of scary since I do not understand what is what.
I think the driver is for a file level workflow, not for capturing or exporting.
I can't write to the device as if it were a tape.
I have not tried any file level options.
The problem is extended now.
>> I can't write to any deck <<
If anyone knows how to double check the path from timeline to deck, then please let me know.

Making the leap to edit in HD...so confused. PrpRes or XDCAM HD

Edited my first hour long program in HD. What a nightmare. I shoot in XDCAM HD and captured using ProRes. Using AJA Kona 3/SDI. Had a few lockups and crashes and long render times for all graphics. Just a simple text within FCP took 8 minutes for a 10 second clip! And Motion and LiveType, forget about it. Gotta be doing something wrong. Jerry, thanks for the help last week, but I am still confused if I should use ProRes or use file transfer and stay with XDCAM HD. I am about ready to stay with DV. I apologize for my ignorance, but I really appreciate the info you guys provide. I am kinda lost here. There seems to be no simple answer. My vendor is an AVID guy, so he offers little help.
Thanks again,
Tom

Shane -
Very helpful. I'm also using XDCAM HD and have an i/o HD box from AJA. I have been importing the XDCAM files via Sony's software, editing my sequence natively, and changing the renders to ProRes. I recently started changing the sequence setting to ProRes and rendering. It seems to correct a lot of playback and Edit to Tape problems I had been having when laying my sequence off to a Sony 1080i HDCAM deck. Reading your post, I'm wondering if this is a smart process. I was changing the sequence to ProRes to gain the 10-bit environment for the graphics, lower thirds and overlays I bring in. Does rendering the sequence cause any loss? Do you prefer native over ProRes when it comes to XDCAM HD (I'm shooting in 1080i because the client wants a Sony HDCAM 1080i master)
Are there any other workflows for the XDCAM HD and the i/o box? I know Panasonic's P2 import software allows you to choose any codec you have on your machine...so you can pick ProRes if you like. Sony doesn't have that option and the 330 doesn't have SDI out.

XDCAM Capture

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