Live capture 10bit 4:2:2 Prospect vs. HDV transcoded - is it worth it?
 

I've been experimenting with live capture out of the HD SDI of my JVC HD250. The camera can push out 10bit 4:2:2 uncompressed and I can capture using HDlink quite successfully, but I'm tethered via a long piece of coax and the resulting file is actually 60p footage with embedded 24p flags, not true 24p files.

I can see a theoretical advantage to 10bit 4:2:2 transcoded to Cineform as compared to the 8bit 4:2:0 HDV transcoded. Theoretically I should have better information for the color grading and compositing processes, but is it so much better that it's worth the hassle of a tethered camera?

The 24p thing doesn't bug me that much. We're not doing filmout anyway and it doesn't really matter for DVD/bluray/VOD release. No big deal but it's a little strange knowing the file isn't really 24p. I know there are ways to fix that, but it's another thing to do on top of all the other post production work. It's too bad HDlink doesn't take care of that during capture.

I'm shooting my second feature with this rig in April. My first was shot to tape and transcoded to Cineform for post (included green screen composites and color grading) and I was quite pleased with the results.

So, what do you all think? Is the hassle worth the results?

All depends on how much you intend to push the image from it native in camera look. If not much, stick with convenience of the native camera compression. If you are tell your story with color, or doing keying, then tether. If you have the budget consider using a CineDeck -- cinedeck.com for mobile CineForm compression.

wow!
 

That looks pretty amazing.

I did not find the cost on the website for the various models. How much is it?

Would this device be helpful for my Panasonic HMC-150?

I am not sure if I understand it 100%. Would it record whatever I am filming via HDMI and not go through the AVCHD compression in my camera?

Therefore, it would be recorded as a cineform .avi at 8,10 or 12bit depending which model you get?

The negative is you need a laptop to record it to or something else that is portable in size. Any suggestions?

Thanks,

Simon

You don't need a laptop? The CineDeck records to a SSD (about 4hr of capture on a 256GB SSD) and it standalone, and it about the size a thick paperback (with a touchscreen.) It would allow you to bypass the camera compression form HDMI or HDSDI sources. HDMI unit details are not out for a while, HDSDI pricing and details out this month. There are taking orders now. They will be at the CineForm booth this NAB.

Wow!

Sounds amazing. Thanks for the information.

Simon

Thanks for your thoughts, David.

I've been watching the CineDeck for about 6 months now. Cool little beast, but it's more than I can afford. The tethered option exists because I already have the pieces needed to do it. A $5000 buy would cripple my budget right now.

On my last project we did some very complicated keys with the Cineform-transcoded HDV footage and were very happy with the results, far better than native HDV. I'm a big fan of Cineform. It's a permanent part of my workflow.

I'm going to do a few more tests before I decide. I need to see how the color grading we plan will effect each scenario.

Thanks again.

Chad,

Keep an eye out for the HDMI pricing on CineDeck, I think you might be surprised. We are hearing positive things, although CineDeck is from dbox not from CineForm, so we don't control pricing.

So the HDMI version will be out this year or next year?

Simon

Wow, that does look pretty sexy.

HDSDI units are end users hand right now, with production ramping. So after they will be working on the HDMI system.

Chad,

I shoot on the JVC 200. Any tips on getting better keys with that camera?? I captured my greenscreen footage via firewire with prospecthd and used keylight. Still can't get clean keys. Any tips would be great!

-Marc

Thanks, David. I've heard a lot of good things as well. Unfortunately the HDMI version will do me no good. JVC HD250 has HDSDI, no HDMI. I'll continue to follow the CineDeck and watch pricing. I still think direct-to-Cineform is the holy grail of acquisition. What we need is some crazy-smart engineer to develop a hardware encoder for it. That will bring prices down quickly.

Hey, Marc. We use the same process for greenscreen. Keylight is fantastic. I don't think I have any new tips for you. Obviously the first step is good lighting. The keying we did on "Wake the Witch" (title of said feature) started under not-perfect conditions but our lighting was fair. That helps a lot. Second, our key was meant to be paranormal or fantastic in nature so we at no time were going for "realism". We overcame our issues via garbage matts and multiple keys, two and sometimes three keylight pulls at the same time. It was a slow render but it worked great.

Hi Chad,

If demand is great enough it's very easy for us to support SDI-only at the same pricepoint as HDMI-only.

best,

Charles

Thanks, Charles. I realize that the JVC 250 is in an odd class of camera, but I think the HD SDI only could find a healthy market. I've seen on your website a unit that supports both HDMI and single link HD SDI. Perhaps that's the unit that could eventually find a lower price point.

I'd love to play with one of your rigs. I have a feature shoot coming up. Can I borrow one;)

betas
 

Hi Chad,

If you'd like to be part of our beta program, I can set you up in a jiffy.

best,

Charles