Jump to content


Photo

Straight to drive


  • Please log in to reply
4 replies to this topic

#1 jijhh

jijhh
  • Basic Members
  • PipPipPip
  • 108 posts
  • Student

Posted 11 March 2006 - 07:20 PM

I've shot a short on S16 and plan to scan the footage straight to hard drive (most likely at Spypost after seeing the Spypost vs. Bonolabs test) . I'm looking to edit 16:9 in FCP and output to HD DVD. Can the raw footage be scanned into true 16:9 or will there be some cropping or scaling in post involved? Basically I'm just looking for the highest quality 16:9 output coming from S16. Also, I've been given a whole lot of ballpark figures for transfer at Spypost, does anyone know some general rates for their services?
  • 0

#2 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 11 March 2006 - 09:53 PM

I've shot a short on S16 and plan to scan the footage straight to hard drive (most likely at Spypost after seeing the Spypost vs. Bonolabs test) . I'm looking to edit 16:9 in FCP and output to HD DVD. Can the raw footage be scanned into true 16:9 or will there be some cropping or scaling in post involved? Basically I'm just looking for the highest quality 16:9 output coming from S16. Also, I've been given a whole lot of ballpark figures for transfer at Spypost, does anyone know some general rates for their services?


So you want to telecine transfer to HD and edit in HD?

There is the 16x9 SD "anamorphic" format and HDTV, which is native 16x9. But if you transfer to standard def 16x9, you'd have to uprez to HD if you are planning on releasing it in HD-DVD.

You can transfer it to 1920 x 1080/24P if you want, but can you edit that?
  • 0

#3 jijhh

jijhh
  • Basic Members
  • PipPipPip
  • 108 posts
  • Student

Posted 11 March 2006 - 10:08 PM

david thanks for the reply. if you couldn't tell from the first post, i'm new to editing in 16:9 as i've never shot S16 before this. so if i have the S16 footage telecined to the HD will it be already be 16:9 that i can just drop into an HDTV timeline and edit? is there a special telecine process just to create HDTV ready files? i was under the impression that S16 does not have a 16:9 ratio, so i was a little confused as to how the film was telecined to fit into a 16:9 timeline.
  • 0

#4 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 11 March 2006 - 10:29 PM

The S16 negative is 1.68 : 1, so you'd be trimming it a little top & bottom when transferring to 16x9 full-frame (1.78 : 1) HDTV. It's not a big deal and may hide some minor dirt on the edge of the camera gate anyway...

As far as editing HDTV in FCP, I have no idea when the issues will be. Even if you transfer to 10-bit, 4:2:2 1920 x 1080, 24P, I guess one question is whether you want to edit uncompressed 1080P in FCP or make faster-to-render, lower-rez proxies and then re-import into FCP at full rez when you're done editing.
  • 0

#5 Joshua Reis

Joshua Reis
  • Basic Members
  • PipPipPip
  • 108 posts
  • Cinematographer
  • Los Angeles

Posted 12 March 2006 - 01:41 AM

Hi, you have a lot of choices here. If you will be transfering directly to hard disk,find out what codec the telecine house will be using. There are obvious hardware requirments for editing uncompressed HD footage so once you have everyhting on your drives, I would use the Final Cut Media Manager and create HD offline clones of your foootage using a compressed codec such as HDPRO or photo jpeg. Generating standard Def offline quicktimes in DV is always an option as well. Using one of these compressed codecs will allow you to even edit at HD res on a powerbook or single ATA drive. With HDPRO you will gain additional realtime performance which is a nice bonus. Once you are finished with your offline edit, you can generate an EDL and link back to your uncompressed media to render out a pristine Master Quicktime from which you can go out to tape (HDCAM, D-5) or H264 (HD-DVD) or any other format. While you will be recording directly to hard disk, I always think its a good idea to simultaneously record to tape as well such as HDCAM or D5. If anythign ever goes wrong, drive failure, or just purely for archival, tape is safe. When you are finished with a project, you already have your footage archived. Its worth the extra cost. A 16:9 crop on the Super 16 1.66 frame is very minor. Also, just as a note, just becuase you are going out to HD, doesn't always mean that your footage is 16:9. I have had 4:3 footage transfered to full frame HDCAM resulting in a horizontal stretch which was reversed in post. We wanted to mazimize the tape data rate for visula fx work. So be specific (label your framing chart) when you send your footage to telecine, they could always transfer your footage 1.66 by adding mattes on the left and right of the frame if you didn't want to crop the top and bottom for 1.78.
  • 0


FJS International, LLC

Tai Audio

Visual Products

CineTape

Gamma Ray Digital Inc

Paralinx LLC

Media Blackout - Custom Cables and AKS

Rig Wheels Passport

Abel Cine

rebotnix Technologies

The Slider

Technodolly

Metropolis Post

CineLab

Broadcast Solutions Inc

Willys Widgets

Aerial Filmworks

Ritter Battery

Wooden Camera

Glidecam

Opal

Ritter Battery

Wooden Camera

rebotnix Technologies

FJS International, LLC

Media Blackout - Custom Cables and AKS

Opal

Gamma Ray Digital Inc

CineTape

CineLab

Visual Products

Abel Cine

The Slider

Willys Widgets

Metropolis Post

Technodolly

Tai Audio

Rig Wheels Passport

Paralinx LLC

Glidecam

Aerial Filmworks

Broadcast Solutions Inc