I do not have a KonaLH Card, but I think it will work. It is probably easier just to record right to HDV on tape. It can then be captured with DVHSCap and converted using MPEG STREAMCLIP without the hassle of bringing a computer and capture card with you. Both programs are free, and the newest MPEG STREAMCLIP has a frame rate slot where you can put 23.98 in it.

Apple demo'd HDV 720/24 Native at NAB. The update will likely be unvailed in August at the Apple Conference. Apple said imment release which turned at to be a lie since it has been two months since NAB, but it will be sooner rather than later.

Hi Matthew,

I too am wondering about the Kona workflow, but I can tell you that Cinema Tools will only remove pulldown from NTSC material and the the DVCPro frame rate converter plugin for FCP will only work on Firewire captured Varicam material. So if you use the Kona card to get DVCProHD and TC from the HD100 into your Mac, you'd have to work with that material at 60 fps. Someone please correct me if you know otherwise, but I know of no easy way to remove that pulldown other than going to a post house and running it through a Teranex.

The MPEG Streamclip solution works OK, but I haven't had as good luck as Steve with it. I get a sync drift of about 1 frame per 5 minutes when I use it. HDVxDV drifts even more for me. This can be a real pain if your working on a long form doc with hours of footage. So there is no perfect solution, if you want to cut on a Mac.

cool Randall, sound great..
I just have a question.. What did you do to conform the original mpeg2 when you finished editing?

Tahnks in advance
Daniel

I'm going to go out on a limb here and say that you probably don't conform the original hdv file. You just use the AIC.

JVC GY-HD100 24p work flow
 

Sorry wrong thread! See the JVC HD-100 thread if interested in a 24p workflow for the PC.

Thanks Randall

I was wondering why I wasn't getting any audio in FCP!

Does MPEGStreamClip remove the audio if you don't demux first?



Andrew.

NO NEED FOR TIME CODE: JVC GY HD100UA capture 720p 24 footage
 

I am trying to capture into my FCP 5.4 (powerbook G4) hd footage I shot with my JVC HD100UA camcorder at 720p 24. I don't need to also capture the time code, I just need the visuals and the audio. Can I do that? If so, what is the workflow?
I would appreciate your help immensely
Cecilia Galiena

DVHSCap vs Lumiere HD for JVC HD100U footage capture into FCP 5
 

I am wondering how they comapre to each other quality wise??? Lumiere costs $180 and DVHSCap is free. I see lots of pro guys using DVHSCap. It brings up a question: "Why the $#@$ did I pay $180 for something that I could get for free and it doesn't even do automatic scene detection?"

Also, I'm wondering if DVHSCap does automatic scene detection?

Thanks a lot guys

P.S. Can anyone post a complete workflow for DVHSCap and MPEG Streamclip to capture files into FCP 5? I've seen some helpful notes, but they don't seem complete. They don't mention demux option in DVHSCap etc.

Hi Rati.

I don't believe DVHSCap has a function to detect a new scene. It doesn't have any "Help" info available, but in my experience it just captures everything (including across timecode breaks) from when you click "Capture from D-VHS" until you click the button again to stop capture.

And remember, as long as you apply "Fix Timecode Breaks" in MPEG Streamclip there should be no need to demux and re-synch because the conversions (given by MPEG Streamclip) should be in perfect synch. So there's actually no need to demux with DVHSCap - and perhaps that's why the other workflows you looked at seemed to be incomplete.

I've given a 21 step workflow for use of DVHSCap and MPEG Streamclip with FCP in post #8 of this thread:

http://www.dvinfo.net/conf/showthread.php?t=70518

That one's for 25p and AIC of course. If you are looking at 24p, then simply change the "Frame Rate" in the MPEG Streamclip section to "23.976" and in the FCP section, under "Editing Timebase" select a number that reflects your 24p workflow such as "23.98".

Note: If you are going to convert 24p footage with MPEG Streamclip, I would strongly urge that you NOT capture across timecode breaks with DVHSCap (even though you can). Just capture one "take" at a time. I have a current 24p project where the cinematographer captures the footage on his own computer with DVHSCap, then burns the .m2t files onto a DVD-R and gives them to me. But he just captures the footage from an entire shot (sometimes up to 12 takes) all in one go to make up a single .m2t file. When I did the conversions with MPEG Streamclip (after fixing timecode breaks and typing in a frame rate of "23.976") I found that the early parts of the converted Quicktime were fine but that the later takes (after timecode breaks) had several repeat frames. So I went back to using HDVxDV for my 24p conversions. But I still use MPEG Streamclip for my 25p conversions. It's rock-solid with 25p. (This is all purely from my experience.)

But as Tim Dashwood (who I know from other posts only captures between timecode breaks) and others report great results using a framerate of 23.976 with MPEG Streamclip, I can only assume that capturing across several timecode breaks with DVHSCap was the likely cause of the problem with the repeat frames.

Thank you David! I haven't had a chance to test the setting yet - I've been in the field most of the time. I will report if it works for me.

In "Editing Timebase" you say to select 23.98... there is also an option for 24. Is 24 not good?

posted wrong information. my apologies

Yes, 24p is good (my HDVxDV conversions are done in an exact 24p framerate) but because the MPEG Streamclip conversions are recommended to work with a "23.976" framerate, then "23.98" in FCP would be the closest match to that.

As I come from a PAL area, I only need to work in exact 24p and 25p, but I would imagine that 23.98 would be optimum in an NTSC area because it would be more compatible for converting to 29.97 (for showing on SD and HD TVs).

But it depends on what your needs are, of course (for example you might only be looking to transfer to film), and if you do want to work in an exact 24p editing timebase, just use Cinema Tools to conform your clips from 23.976 to 24 and then import them into FCP.

Digitizing gap with JVC hd100 series?
 

I've been reading about loss of footage that occurs when digitizing HDV. I was planning on purchasing two HD200s when available and the JVC HDV deck, and would love some clarification.

My workflow would be to shoot on mini DV, then digitze the entire tape in one shot from the HDV deck.

Will FCP lose the first 6 seconds and then digitize the rest?

Or will there be a gap before each start/stop?

Just trying to get all correct info before investing my $$. Thanks!

AFAIK (I don't do HDV) - from reading threads here and elswhere - the gap is one sec + whatever you have set up as pre- and postroll in your capture presets.

This subject has been covered extensively many times.


Gunleik

I believe that if you're shooting DV (Not HDV-SD) that the gap shoudn't be a problem.

However, if you're shooting HDV, yeah, you're gonna have gaps. Gunleik is correct, the gaps are based on what you have as a pre/post-roll time.

Depending on your shooting style, this may or may not be acceptable. When I shoot narrative work with my HD-100s, it's perfectly fine, since I preroll before each shot anyways. When I'm shooting weddings, gaps are not acceptable.

If you're shooting something that doesn't allow for any gaps, you may want to consider using AIC, which doesn't have a problem with the gaps.

Thanks for the response but still looking for a definitive answer. The workflow I mentioned earlier is for weddings.

So it sounds like FCP loses the first second of each cut even if the footage is digitized from the deck in one shot- not a batch digitize.

Can someone please confirm.

BTW- if this is true then I have to say HDV workflow is seriously impractical.

For weddings, the definitive answer is: We're screwed.

I'm in the same boat, and definitely feel the pain. Native HDV is definitely not a practical option for shooting weddings or events. There's too much "Hey, look at that!" going on, and we need everything that's in our shots, and don't have the opportunity to preroll.

You will always lose at least a second or two between clips using Native HDV. Not a major problem with narrative work and such, since you'd be prerolling anyways, but definitely a killer for weddings and such. It has something to do with the GOPs and the way the TC blips when you start recording again.

For weddings, the solution I've found is to simply use AIC. No problems with the timecode gaps.

Now, bear in mind, all of this information is based on the HD-100/HD110. It's quite possible that the TC has been tweaked in the 200/250, although I doubt it.

Well, after reading everything there is to possibly read I have decided to go with the AJA Kona LH. I will digitize DVC Pro HD and avoid editing in HDV altogether.

Gap Problem
 

the answer is the DR HD 100 I have this works exellent

Problem digitizing HD from JVC GY-100A to FCP-4.5
 

Ladies & Gentlemen-
I wanted to digitize HDPro footage I shot with my new JVC GY-100A to my FCP HD 4.5. I set all the items I could set in FCP digitizing window and Easy set up, indication HD 60/30 footage. I also use the menu in my camera to set all the playback outputs to HD720/30.
I also switched the IEEE 1394 switch on my camera.
Yet, FCP refused to see my camera, couldn't make a connection.
Under "View" in FCP - Etxernal device- all the options were grayed out.
What the heck am I doing wrong?
Can anybody help?
Thanks,
Wolfgang Schumacher
PS: I have no problem digitizing normal DV footage.

I believe you need to upgrade FCP from 4.5 to 5.1

Are you sure that FCP ver 4.5 supports HDV? In easy set-up, do you see a setting for " 720p/30 HDV"? This is dfferent than "HD720/30"

I seem to recall that HDV support from FCP came on version 5 or higher.

Regards,

As I remembered FCP 4.5 "HD" had 720p30 on AIC only not native HDV,
IT also had the DVCProHD format too. But no Native HDV.

Problem digitizing HD 720p/30 with FCP
 

Jay & Karl-
Thanks for the fast reply and your willingness to help me.
I went back to FCP and Easy set up and notized that, indeed, FCP lists
DVCPro HD-720p30 as well as DVCPro HD-720p60.
Yet, while the format changes in the window to 16x9 after selecting HD-720p30, it did not do the trick.
Is this a FCP or JVC thing?
Any ideas?
Thanks,
Wolfgang Schumacher

Problem digitizing HD 720p/30 with FCP
 

Jay & Karl-
Thanks for the fast reply and your willingness to help me.
I went back to FCP and Easy set up and notized that, indeed, FCP lists
DVCPro HD-720p30 as well as DVCPro HD-720p60.
Yet, while the format changes in the window to 16x9 after selecting HD-720p30, it did not do the trick.
Is this a FCP or JVC thing?
Any ideas?
Thanks,
Wolfgang Schumacher

Problem digitizing HD 720p/30 with FCP
 

Thanks, Jemore-
It looks like I need to bite the bullet and upgrade my FCP 4.5 to the next higher number. Your hunch maybe right. All replies point into the same direction.
Thanks,
Wolfgang Schumacher

You should be able to verify this easily with Apple.

Regards, Carl

Wolfgang If you open up "easy set up" do you see AIC 720p30?
If you can then you can use that for sequence and capture instead of HDV. It is an intermediate codec which is a work around until you upgrade, some like the AIC codec more because it is an intra-frame solution to HDVs' inter-frame set up.

FCP 4.5 HD was not HDV compatible. You will need version 5 and higher.
I suggest buying the Universal Final Cut Studio v5.1 update. As an owner of FCP 4.5 it will only cost you $199US and you will also get Compressor 2, Motion 2, DVD Studio Pro 4, Quicktime 7 Pro & Soundtrack Pro as part of the deal.

http://www.apple.com/universal/crossgrade/

In the meantime, if you want to capture and edit HDV material from your HD100, you can use one of the tried and true intermediate codec methods.

Here's an exerpt from something I posted ages ago:

So, does FCP 5 edit HDV 720P30 natively? The answer is yes. It maintains timecode, you can use log and capture, it will batch capture, you can edit in native resolution, it will export and it works beautifully.

Does FCP 5 edit HDV 720P24 or 720P25 natively? Yes, as of FCP v5.1.2.

Does FCP 4.5 or 5 edit HDV 720P24 or 720P25 non-natively? Absolutely. There are at least three separate workflows that work quite well. We have discussed the various methods at length in this forum and in our FCP for HDV forum.

The M.O.S. AIC method: (additional cost: $0)
If you have FCP5, you can set the Easy Setup to "HDV 720P30 Apple Intermediate Codec" and digitize, without TC, video in any JVC format.
You can also use iMovieHD to do exactly the same thing. THe AIC digitizer captures everything on the tape and makes a new clip every time it detects a new scene (start/stop.)
The AIC digitizer is not smart enough to know that the frame rate is set for 24 or 25, so instead it throws away the repeat flagged frames, but maintains a 59.94 fps frame rate for the quicktime file.
Therefore, 720P24 and 720P25 will require the use of Cinema Tools to conform the frame rate to 23.98 or 25 respectively. This method works well for M.O.S. projects like music videos, but is not ideal for sync sound situations unless you used a slate and want to capture the sound separately.

The DVHSCAP and MPEGStreamclip Method (additional cost: $0)
This method is now the most popular because of its reliability and low cost.
Download two free programs. First, DVHSCap from Apple's Firewire SDK (install the kit and then drag the DVHSCap app from your Macintosh HD/Developer/Firwire SDK22/ to your applications folder.)
ftp://ftp.apple.com/developer/Develo...eWireSDK22.dmg
Next, download the latest version of MPEG Streamclip from Squared5.com.

Now use DVHSCap to capture m2t streams from your camera via firewire. The program is pretty straightforward.

When you have captured your clips, open MpegStreamclip. The select Batch list from the list menu. Drag in your m2t clips.
Select "Export to Quicktime." In the QT settings window, select Apple Intermediate Codec for compression. Turn the quality up to 100%, set the frame size to 1280x720 (unscaled) and deselect Interlaced scaling and Reinterlace chroma. Type "23.98" into the frame rate box, and set the sound to 48Khz, stereo.
Click "Make movie" and set your destination.
Click "Go" when your batch list is ready and wait for the transcoding to take place.
In FCP4.5, you can create a new sequence preset that uses Apple Intermediate codec, 1280x720, square pixels, 23.98 fps. You can also go into options for the codec and select 720P for the optimizer.
You can now import your new clips and get right to work.

The HDVxDV method (additional cost: $80)
HDVxDV now supports 720P24 capture from the HD100. The interface is not as easy to use as FCP's built in Log & Capture because it has no live video/audio preview, and there are no search buttons, just FF, REW, STOP & PLAY.
However, it is simple and easy to understand. Brad Wright, the developer, has attempted to facilitate the capture of source TC, but it does not work well yet.
Simply put, you capture clips straight from the camera, then export them to a secondary codec of your choice for editing in FCP 4.5 or 5. I suggest Apple Intermediate Codec. There is one little inconvience in the software (v1.24) that creates 24fps files instead of 23.98fps files. Either one seems to work in a 23.98 sequence without rendering, so I guess it isn't a big deal, unless it is the root of the problem of sync issues some people have reported on long clips. If the sync issue is created during the export, then changing the frame rate to 23.98 in Cinema Tools won't fix it. Maybe Brad Wright can inform us of what is going on with regard to 23.98 vs 24fps.

The Lumiere HD method (additional cost: $179)
Lumiere HD now "supports" 720P24 and 720P25 capture. The interface is basically the same as HDVxDV (I believe both originated from Apple's DVHSCap) but Lumiere HD has added space for description, scene and take with auto-incrementation. The workflow can seem daunting at first (and definitely takes the most time overall) but there can be some distinct advantages for proxy offline editing.
However, TC is not captured and batch recapturing is not supported.
I have been testing the latest version of Lumiere HD (v1.6b6) for a couple of weeks and it is working MUCH BETTER than 1.6b2 ever did. The workflow remains unchanged, but you can output 720P24 back to the HD100. Lumiere HD 1.6b6 is the only piece of software on the mac that will allow you to do that.

Capturing HDV-SD60P or HDV-SD50P for "overcranked" slow motion. (additional cost: $0)
You can use Apple's DVHSCap (or HDVxDV/Lumiere HD) to capture 480P60 or 576P50 HDV to m2t files. Then you can use MPegStreamclip to convert and uprez the m2t streams to Quicktime @ 59.94fps. Cinema Tools can then conform the frame rate down to 23.98 and you have instant overcranked slow-mo for use in FCP 4.5 or 5.[/QUOTE]

Carl, Jemore, Tim-
You guys are awesome. I got more help than expected.
Many thanks. I will do as you guys suggested.
A gratefull,
Wolfgang

Print-To-Video w/Universal FCP, & JVC GY-HD100UA: Issue
 

We have the new ‘universal’ version of FCP installed now (in a G5, v5.1 and in a MacPro 3ghz, v5.1.2) and in both machines we find that the print-to-video feature is presenting a problem, however the problem appears to be confined to the JVC GY-HD100UA only. It does not occur when we are using our Sony Z1U...and it did not occur with the GY-HD100UA either UNTIL we upgraded to FCP 5.1 and 5.1.2.

Here is the problem:
When we 'print-to-video' a sequence that has been “conform to HDV” pre-rendered, FCP 5.1 and 5.1.2 now suddenly insist on starting the render all over again -- spending three hours to “conform-to-HDV” an hour-long sequence that was already pre-rendered “conform to HDV" earlier.

it does actually take the full three hours... and then it prompts us to proceed (press record on the camera) and the print-to-video occurs normally.

In the old version (non-universal, G5) FCP apparently used the “conform-to-HDV” render we did previously. It would take only about two minutes to prepare itself for print-to-video and issue the prompt for us to roll-tape-and-record. In 5.1 and 5.1.2 this takes three hours, executing first a full conform to HDV render.

We observe this problem with our JVC GY-HD100UA - not our Sony Z1U. When we try to do the same process with 5.1.2 in the MacPro using the Sony Z1U, the prior render is recognized and we are prompted to begin tape recording after the usual 1-to-2 minutes. So this would appear to be a JVC support issue in 5.1 and 5.1.2 only -- as print-to-video into our JVC camera used to be just as speedy as print-to-video to the Z1U -- until we upgraded to 5.1, and 5.1.2.

Is anyone else experiencing this anomaly? Could we be missing something...?

49 views...no replies: OK, I'm going to reply to my own post!! We have found the problem. This anomaly occurs when making use of a sequence originally prepared in the pre-FCP v.5.1 era -- which for us means last week! Everything described above occurs when using an old render. If we re-render in the new v5.1.2 everything operates normally. Indeed, the MacPro makes that render ready for print in about 5 seconds - !!

Live Waveform from JVC HD100
 

Via firewire...I tried loading the videoscope and nothing would come on. I do not currently have the mac with me, but what are the steps with FCP Pro studio in getting a live feed from a JVC HD100 HDV signal via Firewire? I need the waveform tool to evenly light a greenscreen tomorrow. Any help soon would be helpfull, thanks!

That will not work. The HDV FireWire feed only works with a m2t transport stream from tape.

Here's a suggestion. Take the composite video out and send it to an A/D converter (Canopus, DV deck, DV camera, etc.) and send that into FCP or a waveform program like ScopeBox. The waveform will be good enough to set the green screen.

Thanks for the heads up. I dont own the mac. I would prefer to use Sony Vegas, would this work firewire, or no?

That's a good question, I believe DV Rack HD2 for the PC will cover your needs. Whether Vegas likes the files recorded by DV Rack you'll need to research but as a waveform it should work fine. Also their web page is very vauge about HDV support. Make sure it plays nice with 720p30 HDV.

Once again we are still working within the technical constrictions imposed by the HDV format. There's a lot of processing work going on while the m2t stream is being converted to a frame editable format. Right now QuickTime and HDV have a difficult partnership, it getting better but still difficult. It works fine once the QuickTime wrapper is added but people still have problems with tape capture dropping footage at camera pauses. I use a FireStore and been happy with the results. Avid also has continuing problems getting their codecs to play nice.

If you have a traditional waveform monitor available, I suggest hooking that up to the composite out of the HD-100. A lot less hassle then another computer.

JVC HD200 720p editing on FCP ???
 

has any one have any 1st hand exp on fcp to edit footage from a 720p recording off off a HD100/200/250 i am considering a buy of both hd200 & FCP ???

what no one has an answer ............. :(

Hi Jain,

I have both the JVC GY-HD100U and FCP running on a quad G5, it captures just fine via the firewire connection. I am running into issues though with timecode breaks where I have a lot of power on/off's on my camera during a shoot and it breaks the time code whch TCP doesn't like. So, basically make sure you record several seconds before & after each of your shots. The other thing to consider, is that the JVC 200/250 is 60p capable, which FCP does not support right now in native HDV. My guess is that they'll have an update to FCP later this year (hopefully) to support 60p, but the work around now is to buy a Kona or Blackmagic interface and use the DVCProHD 60p codec in FCP. Otherwise, everything works fine between the JVC and FCP. Have fun!

Jeremy