DVCPro50... Capture preset?

jcskeeter

jcskeeter

Well-known member
Hello all.

Just have a simple question...I think?

We shoot DVCPro50 and the footage is mainly edited on Avid media composer (which is about 5 yrs old). The DVCPro50 gets ingested into the Media Composer I think at the 2:1 setting. My question relates to when it comes to FCP. Most of the stuff I cut is done on an FCP system.

I am using a G5 PPC quad core with 4.5 gb ram esata raid drive and a Kona LHe card with BOB. I have been capturing the DVCPro50 through the Kona card and using the Kona 525 29.97 8 bit uncompressed codec. Mainly what I do is capture what I need, make my edit and put it back to DVCPro50 to put into the Avid. (show segs, product features, etc.) I am wondering if the Kona 8 bit uncomp is the best codec to use for this FCP to Avid transfer. I guess I am wondering if my side, meaning my codec, is more than what is really necessary to be mixed with the Avid codec.

Basically what it comes down to: is Kona 8 bit uncompressed = Avid 2:1 codec (I don't know if that is how you say it?)

Should I be using something else that better matches or that is more comparable to the avid codec?
 
Since you are putting it back to DVCPro 50 tape before you put it in the Avid I don't know much you gain (if anything) by working in a higher quality codec than DVCPro 50.


-A
 
That's kinda what I am thinking. Although I just read an article that mentioned when you capture at an uncompressed codec you do gain more "head room" for color correction, green screen work and other effects. Article HERE. (about halfway down)

I guess I don't know? I'll wait for a few more responses.
 
The dvcpro50 codec is 8bit but the analog IO on the deck converts it to the equivalent of 10bit. You're downconverting from 10 bit to 8 and back out to 10 if you're using the analog IO. You save space but introduce 2 additional transcoding stages by capturing to an 8bit codec instead of 10, you also have 1/4th the colorspace to work with.
 
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