Some SundanceFest H1 24F SDI to DVCPROHD clips

FullRez said:
Yeah I got that part. I guess I see that you are converting to the new codec while going through the card. It seems that for those that don't have that card or want to pay for one can go through firewire and then convert to the superior codec for editing via the computer. Just will mean waiting for the clips to be converted.

The part that impresses me is that the footgage (input via the card or firewire) still came from HDV. Since I'm on a PC, I'm thinking Cineform will be my editing codec and I'll go to uncompressed for some shots that need effects and extra color grading.
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What's the firewire process you're speaking of? Kind of confusing-- I thought that capturing through Firewire wouldn't work for this camera? I'm wrong, obviously... but some more info on it from another thread? What about Mac users, does this work?
 
Cineform is probably the superior choice. I wish it were available to FCP users, however, finishing in DV100 has it's advantages. It's ready to go to tape in a better format. With Cineform, you have to recompress again if you need to output to DVCPROHD or likely, HDCAM if you're going to the festivals. You can go back to HDV as your output, but then everything else gets the 25mbs treatment, like color-correction and graphics, which is where HDV's lower color space can really show warts.

I'm thinking DVCPROHD isn't used at festivals as much because 24P from tape isn't supported in 1080i in DV100. With HDCAM you can output a 24PsF signal that can be recognized by higher end projectors, and therefore bypass any deinterlacing issues.

Just a few thoughts...

Edit: I think Blu-Ray or HD-DVD will be the projection formats for festivals in the future. Simplifies things for everyone.
 
Kholi said:
What's the firewire process you're speaking of? Kind of confusing-- I thought that capturing through Firewire wouldn't work for this camera? I'm wrong, obviously... but some more info on it from another thread? What about Mac users, does this work?
Click to expand...

On the Mac, you can capture 24F via HDVxDV, but it doesn't recognize the flagged 24p frames and doesn't give you timecode that you can batch recapture from. You have to demux it in MPEG Streamclip and then convert to, say, DV100 or PhotoJPEG. I've noticed a very slight quality drop when demuxing m2t to m2v that quicktime recognizes.

Seriously, if you're even considering the H1 and the Mac, get the Decklink HD at least.
You'll thank yourself later.

FCP6 may change all of this, which will be a relief.
 
Hmm..

I might have to bring my PC into the office to edit on. LOL

Someone needs to link me to a thread about firewire and PC. I've been doing homework on the HVX200, and then the XLH1 suddenly pops up for testing here and I have to learn about this camera as well; gah.
 
On the Mac, the thriftier approach that would probably get the same results as I got would be:

--Capture HDV via HDVxDV

--Demux and convert to DVCPROHD in MPEG Streamclip (actually HDVxDV will do this too)

--Edit and finish in DVCPROHD or Uncompressed in FCP

--Encode for distribution in DVDStudioPro in h.264.


This of course is working with what's available now. I'm hopeful that FCP 6 will make it a more streamlined process.
 
Sounds like a plan to me.

I need to bookmark this thread and a few others for reference.

Thanks Elton. You've been a big help.
 
Danilo Del Tufo said:
I wanna say that last week the page open without any problem, but from you've added this footage I can't open a damn thing.
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Danilo, do you have access to a Mac? It's probably a browser issue with your computer, and it could also be that you're downloading a zip from the page and it's not decompressing it for you.

Wish I could help more, but it'll get sorted out soon, I'm sure.
 
Kholi said:
Sounds like a plan to me.

I need to bookmark this thread and a few others for reference.

Thanks Elton. You've been a big help.
Click to expand...

You're welcome, Kholi. I enjoy helping others because I know if I was needing to get one of these cameras, it sure does help to have decent, real-world footage and workflow examples to make decisions by. Debating rez charts and specs is incredibly dull to me.

I also like to combat FUD wherever possible and just let the images speak for themselves. We all want the most imaging bang-for-the-buck, and with better H1 footage you can see where some of that extra money is going. The Canon certainly isn't the answer for everything, but it covers a lot of ground.
 
Elton said:
Danilo, do you have access to a Mac? It's probably a browser issue with your computer, and it could also be that you're downloading a zip from the page and it's not decompressing it for you.

Wish I could help more, but it'll get sorted out soon, I'm sure.
Click to expand...

No I don't have a MAc...but i'm redoing the test...and WHOAH! Now finally works!!!! THANKS A LOT! I love you! :) Someone of you genius has fix the link! Thanks love you all!
Now I just hope that my slow computer allows me to watch footage!
 
Elton,

the clips look really good.

Are you able to lock the timecode and the audio "with" the Kona card ? (for further recapture)

thanks
 
Antoine_Fabi said:
Elton,

the clips look really good.

Are you able to lock the timecode and the audio "with" the Kona card ? (for further recapture)

thanks
Click to expand...

I'll look into that. I *think* that you can do locked audio to HDV as an option.

I tried capturing the SDI w/Firewire HDV as the timecode protocol, but it wouldn't let me. I think I need some kind of BNC to RS-422 adapter cable in order to successfully capture timecode.

I did a straight 1 hr. SDI to DV100 capture without any sync issues. I made subclips in my bin after capture. Worked great.
 
...so you used "capture now " in FCP5 ?

It's a good idea to make subclips after capturing, i always do that.
I think it is faster in the end...

...would be nice if you could recapture the exact same timecode though...

thanks
 
Antoine_Fabi said:
...so you used "capture now " in FCP5 ?
Click to expand...

Yup, the only way to do it so far. Agreed about the timecode for recapture. I'm sure there will be solutions soon.
 
Kholi said:
Someone needs to link me to a thread about firewire and PC. I've been doing homework on the HVX200, and then the XLH1 suddenly pops up for testing here and I have to learn about this camera as well; gah.
Click to expand...
Shannon Rawls says that Vegas 6 can capture direct from the XLH1.
 
I've seen the footage. Amazing!
The Sundance footage (with that girl, I just falled in love:embarasse :embarasse , anyone could present her to myself? :embarasse) just remind me an european film look, the texture grain of Canon is sweet, much different from Panasonic footage.
Just a thought about it:
Sometimes the Panasonic look just remind me a standard of colorimentry (reminds me "X files" "Six feet under" skin colour and dark blacks), that has the risk to flatten out different worldwide filmlook that evr'y country has.
The Canon colorimetry just remind me a poetry of poverty that as Italian people I am , grown up with Pasolini and Dario Argento...it just reminds me the masters, ya know!
I dunno if Barry Green or anyone could understand, the soft difference that evr'y country has when use "film stocks", I'm bit worried about Panasonic "Matrix" color's style...
They're just thoughts my friends...
 
I think this footage looks great. I've never had a problem with the way the Canon's look obviously, but the whole HDV/SDI thing has me grumbling...

Hey Elton, you don't happen to have a 16X manual lens there with you do you? If so, I'd love to see some footage shot with that.

Matt
 
What about a 35mm adapter WITH A RELAY LENS, so that you didn't have to plop it ontop of the Canon lens...

What about that
-- Hmmmm?
 
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