workflow - output uncompressed

G

greg worley

New member
I'm trying to find a workflow for matchmoving and green screen using the HVX200 to capture in the 480i 60/30p. I've recorded some footage, brought it into Final Cut 5.04, using the DV50 NTSC easy setup, and now I want to save it as uncompressed 10bit. HOW?
 
How FCP savvy are you? What program are you using to key?

Go the the media manager and use the recompress function to whatever codec you'd like. If you've never done this before I'd suggest reading up on it. If you want more help post back.

Jeremy
 
a few more points/questions...
the DVCPro 50 codec is capturing 30 progressive frames per second in a 60 interlaced frames per second timeline. So, if I do a quicktime conversion and choose to convert to a sequence of tif files, it asks me to specify frame rate. Should I choose 29.97 or 59.97? (If I choose 29.97 will FCP know to take the interlaced timeline, 60i, and convert it to 30p?)
As for FCP experience, I'm not new to FCP, just new to DVCPro 50 - after reading Apple's bulletin on how to import from HVX200 to FCP and how to output, it seemed as if they were saying that output options were: a deck, back onto the camera P2, back to the Camera as DV or DVD studio as a DVD.
I found and read this bulletin online last night, becuase I had exported my timeline as 10 bit uncompressed a few times using the export/quicktime conversion. What I got filesize wise seems to be uncompressed, but opening it in quicktime 7 pro on windows XP kept crashing QTPro. I was trying to load it in fusion 5 and it was only reading all white. I tried importing it into Bojou Bullet to track and all I got was white.
After this, I decided to just try exporting it as a tif. This seems to work, but I haven't verified it yet, as I don't know if the 29.97 frame rate I chose in the quicktime conversion convert to tif sequence dialogue option box is preserving the full, progressive frame, or if I need to export it at 60i.
I'm also wondering about 10 bit. I'm assuming that this camera is really capturing 4.2.2. off of the CCDs, though others seem to be questioning if this is really technically feasable for the ccds to capture 4.2.2. in HD, I'm assuming it's feasable for 480i. I don't think exporting it as a tif preserves the 10 bit, as I assume that the tif sequence is 8 bit.
 
greg worley said:
the DVCPro 50 codec is capturing 30 progressive frames per second in a 60 interlaced frames per second timeline.
Click to expand...

This is not true. DV50 is regular old standard definition (29.97 NTSC) If you shot 30p it's 30 progressive frames in 60 interlaced FIELDS (not frames). It works just like NTSC but instead of two different fields (60i), the two fields are the same thus creating a "progressive" frame (30p). You should still export it as 29.97 NTSC lower field first, your sequence settings should be set to field dominance none. This does not effect the video, it only effects the graphics that are rendered in your timeline.

One of the reasons that you probably couldn't see your exported movies in any other device was that they don't have Apple's 10 bit uncompressed codec. Your best bet is to export as an Animation and that should be able to be read by multiple OSes/machines provided they have any quicktime installed.

The DV50, and DV100 codec is 8 bit 4:2:2. The codecs are not 10 bit so you will not be "preserving" 10 bit quality, but you will be putting your 8 bit material into a 10 bit space which is good for color correction/grading, and effects.
 
Blackmagic has free codecs 8 and 10 bit uncompressed codecs for download at their website. Available for both Mac and PC. Theese are very good to use as intermediate codecs.
If you export to "Animation" or "None" codec you convert the YUV data to RGB, which will both clamp the luma and croma and cause color shifts.
The blackmagic ones are YUV so you will get a lossless conversion from the DVCPRO 50 files.
 
Anders Holck said:
If you export to "Animation" or "None" codec you convert the YUV data to RGB, which will both clamp the luma and chroma and cause color shifts.
Click to expand...
Yes, you're correct, but the YUV to RGB conversion is going to be done somewhere as most graphics programs work in RGB and will clamp the YUV video upon rendered output anyway. It's six of one half dozen of the other really. AJA has a 10 bit RGB codec which can remedy this situation, but I'm not sure if it's freely downloadable as an installable codec, it comes with their drivers for Kona products.


Jeremy
 
Yes RGB based programs will convert to RGB on import, but YUV's are more efficient, and in AE you can manually choose how interpretate the YUV data.
 
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