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The Post Production Netjiot

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In the words of ThomasRolinger with a few revisions:

 

So, here's what this is for. If you're familiar with AAG, this is the post production version of NETJIOT, or "Not enough to justify its own thread". Any questions, or discussions that don't require a thread should be post in here. Stuff like fake vig, favorite editing software, etc. Basically just anything random about post production that doesn't justify its own thread. So let's see how this turns out.

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I have a question, hopefully someone can answer;

 

what is a workflow with SDHC cards, AVCHD format, (HMC150) that works with apple final cut express, on a mac?

i'd like to know 2; quickest to manage, and best quality.

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I have a question, hopefully someone can answer;

 

what is a workflow with SDHC cards, AVCHD format, (HMC150) that works with apple final cut express, on a mac?

i'd like to know 2; quickest to manage, and best quality.

alright, the quickest way to manage that I've heard of is connect your camera via USB, drag/open the .mts files in Toast 9, and transcode (convert) the mpeg4 files to whatever QT format you want. That should also answer about best quality.

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:lol:-->

QUOTE(Aevrey B @ Sep 5 2009, 04:13 PM) 3266125[/snapback]
alright, the quickest way to manage that I've heard of is connect your camera via USB, drag/open the .mts files in Toast 9, and transcode (convert) the mpeg4 files to whatever QT format you want. That should also answer about best quality.

 

 

Pretty much. This is my exact work flow.

 

1.) Sit down

2.) Plug in my SD card into the SD USB card reader thing I have

3.) Open up Toast 9

4.) Open up the SD card in Finder, navigate to the .mts files

5.) Drag the ones I want (usually all of them) into the "Video Conversion" window of Toast

6.) Name/delete the clips (one disadvantage compared to the HVX/FCP workflow is I don't think you can set in/out points for the clips in Toast, but I've never tried/read up on it)

7.) Hit transcode

8.) Set the destination folder for the clips and adjust the settings (the codec I want, resolution, audio, etc.)

9.) Hit convert

10.) Open FCP, drag/drop the converted clips and edit from there

 

The more updated versions of FCP have a log/transfer for the .mts files, so you can always do that. It may seem like a lot of steps, but it is only one more extra thing compared to the HVX's workflow.

 

As for managing the clips, I just convert the clips and keep those files. Some people may keep their .mts files and convert them when they need to, because the .mts files are a lot smaller, but at the moment, space isn't any issue for me. I have a folder on my external called "Toast_Renders". That is where the files converted from Toast go to. Then I move those clips into their appropriate folders within my external drive. That's how I organize it.

 

For quality, here's what I do. If I am shooting 720p/24p, I will convert with Toast using DVCPROHD 72060p, 1280x720 (DVCPROHD is only 960x720, but setting it 1280x720 doesn't mess it up; still comes out as 960x720), Linear PCM audio 48KHz (the default for me IS NOT 48KHz, so I have to be sure to switch it to that). If I shoot 1080/30p (I have started doing that more), I use Apple ProRes HQ, 1920x1080, same audio as above. Then I down rez to 720p because I have no need for 1080p and because Magic Bullet Looks will not work on Apple ProRes/1080p for me (too intense I guess).

 

You might ask why not shoot 720/30p? Well, Toast has a little bug to where it won't transcode 720/30p correctly, so I just shoot 1080/30p and down rez.

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ThomasRolinger, thanks like a billion. I think from never getting such a straighforward response like that has kept me from being certain on an HMC150. However, I feel its about time...now that i understand how the workflow ..well..flows.

 

 

You might ask why not shoot 720/30p? Well, Toast has a little bug to where it won't transcode 720/30p correctly, so I just shoot 1080/30p and down rez.

 

 

Never knew that. How about 720/60p? And would that be better for skating, because of the fast motion, than 30p? I Know 30p is basically 60i, but smoother, so with my limited knowledge i would assume 60p is twice the frames, making it twice as smooth if slomo'd. Am i way off?

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Pretty much. 60p is 60 full frames per second. 30p is 30 full frames per second, while 60i is isn't full frames, but half frames mixed together. 60p is incredibly smooth, too smooth for my taste. I find it hard to watch continuously and it doesn't "capture" the sorta feel I want in my videos; it's too home-movie like for me. I started shooting 24p (whenever I refer to 24p, I am always referring to 24p native, not the 24p played on a 60i timeline) in the beginning of 2008 because I loved the look of it, especially with skating. A month or so ago, I decided to try 30p out and it looks pretty good as well; a bit smoother than 24p, but still has a little bit of a film look to it. I shoot 60p solely for any slow motion shots I want (conforming/converting 60p into a different frame rate slows it down).

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I made a thread but got no where so ill put it here too.

 

 

I've been using premiere pro cs3 for a while now, ive used it with my hv20 a million times and recently my computer crashed and i finally got it back up and working and now when i go to open a new project it has the little folder that says HDV but it has no drop down menu and i can't open a project with it. Anyone know whats up?

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Pretty much. 60p is 60 full frames per second. 30p is 30 full frames per second, while 60i is isn't full frames, but half frames mixed together. 60p is incredibly smooth, too smooth for my taste. I find it hard to watch continuously and it doesn't "capture" the sorta feel I want in my videos; it's too home-movie like for me. I started shooting 24p (whenever I refer to 24p, I am always referring to 24p native, not the 24p played on a 60i timeline) in the beginning of 2008 because I loved the look of it, especially with skating. A month or so ago, I decided to try 30p out and it looks pretty good as well; a bit smoother than 24p, but still has a little bit of a film look to it. I shoot 60p solely for any slow motion shots I want (conforming/converting 60p into a different frame rate slows it down).

 

okay thanks man. i was right about what i thought.

 

60p on a 30p timeline would slow it to 50%? can you film all 60p and put it on a 60p timeline, if your NLE allows it? and just slow down as you wish...?

 

Thats my last question unless something pops into my mind. thanks so much for answering thoroughly.

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okay thanks man. i was right about what i thought.

 

60p on a 30p timeline would slow it to 50%? can you film all 60p and put it on a 60p timeline, if your NLE allows it? and just slow down as you wish...?

 

Thats my last question unless something pops into my mind. thanks so much for answering thoroughly.

 

Yeah, that's correct. And yeah, you can film 60p, put it on a 60p timeline and have more control over slow motion, than you would with 60i. You can get some smooth ramps.

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i know already that this is a dumb question, but when i export from FCP to a quicktime movie, for some reason the video that comes out opens up in final cut again, in the viewer, and it doesn't actually get the .mov extension. what am i missing?

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i know already that this is a dumb question, but when i export from FCP to a quicktime movie, for some reason the video that comes out opens up in final cut again, in the viewer, and it doesn't actually get the .mov extension. what am i missing?

 

nothing, thats how it should be. Im guessing your not messing with the compression settings when exporting from fcp, so once you have that file, just throw it in mpeg streamclip, and compress/convert to .mov.

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i know already that this is a dumb question, but when i export from FCP to a quicktime movie, for some reason the video that comes out opens up in final cut again, in the viewer, and it doesn't actually get the .mov extension. what am i missing?

well, if you want to export right out of Final Cut w/o it opening back up in the viewer, go over Export and click Using Quicktime Conversion... Then you can name it, set the destination, and customize the video and audio settings right from there.

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i shoot DVX in squeezed mode, and when i compress in QTP and upload to vimeo hd i get the black bars, it's not full frame, i found that a setting that said "crop" in QTP which made the black bars much smaller but theyr'er still tere

any idea how to get rid of the bars all together? (btw i'm exporting out of FCP at full quality 720x480 with top and bottom black bars, should i change it in there?)

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Squeeze mode is 16:9, though it isn't native, so it has some quality loss, but it does not have the black bars; that is letterboxing. I dunno the exact frame size for DVX squueze footage, but you should be making your project/export settings match it; putting 16:9 footage into a 4:3 timeline (720x480, like you said) will result in letter boxing (black bars). So, find the correct sequence settings, export with those settings, compress with those settings. You have to be consistent.

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black bars on the vimeo/youtube player, i'll give you an example

 

here is an older one from me as you can see there are black bars and it squeezed the frame smaller to fit in the 1280x720 box

http://vimeo.com/3115822

 

it should look like this

http://vimeo.com/1304674

 

i realize the second was shot in actual 16:9..

 

i'm thinking maybe i need to change a setting in final cut before i export and resize in QTP?

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Squeeze mode is 16:9, though it isn't native, so it has some quality loss, but it does not have the black bars; that is letterboxing. I dunno the exact frame size for DVX squueze footage, but you should be making your project/export settings match it; putting 16:9 footage into a 4:3 timeline (720x480, like you said) will result in letter boxing (black bars). So, find the correct sequence settings, export with those settings, compress with those settings. You have to be consistent.

 

still really confused, and i've been looking around quite a bit. i found that dvx squeeze footage is 720x480 but 16:9 format?

In FCP when i change my sequence setting to 854x480(16:9 native size) it makes my project look wierd and tells me to render the whole timeline..

 

?

 

edit: ok so i made a new sequence still 720x480 and checked the anamorphic 16:9 box and added a new clip and it fit perfectly, so basically i should have done that before i edited everything together, when i paste my already edited clips into the new timeline it doesn't work properly, so basically i'm still in a rut, but will be able to avoid it next time..

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So sometime this weekend i'm going to be filming some dude do a peice on some wall and he wants me to make a time lapse of it and he says its gonna take a few hours. I'm wondering if their is a way to save tapes and time and just import it straight onto my laptop with my fire wire. I use Adobe Premiere Pro cs4 and i also have final cut. Does anybody know if i could work? I'm going to be filming it on a vx2100 if that makes a difference.

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So, film and import as he's doing it? Yes, you can plug in your camera to your computer via firewire and open up Premiere or Final Cut and I believe you can just record to the computer instead of the tape, but i'm not totally sure. Idk, ThomasRolinger will probably give a more detailed description on what i just said.

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