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Since batch processing is fixed in the new DVFilm Maker release, it makes converting files to 1080/24p much nicer. Essentially I duplicate the directory structure in the 24p folder as the 60i folder, set the output directory, drag, drop, and go. Eventually it crashes, but it does a lot of conversions in the process and it's a hell of a lot better than doing them manually.

It also means I can experiment with some different formats for the conversions. The current format of choice is uncompressed AVI, though I may go for a photo-Jpeg encoded quicktime file in the future. There's also an Avid HD quicktime format, but I don't know how well that's supported.

There is a tradeoff between image quality and editability. Even with a pretty decently powered system, I can't edit most 1080/24p files natively unless they're pretty highly compressed, and then the quality suffers.

The solution is to edit with a proxy, which is a lower-resolution version of the original file. You edit and get the timing and settings where you want them, then swap out the source files and change the project settings to full-res and rerender.

While it's a bit of a cumbersome process, it's still a lot better than the alternative.

There is a slightly different version of this, which uses a different codec (Raylight) that has built-in low-rez proxies. In this case, you do all of your editing with the low-res proxy, then switch the codec to the high-res final and rerender the project. I've only tried it once and wasn't all that successful, but that doesn't mean it's not a good idea.

I also need to check out the timewarp feature of Combustion to discover whether it's better to pull slowmo from the 1080/60i, /24p, or /30p versions.



( 2 comments — Leave a comment )
Oct. 9th, 2008 09:23 pm (UTC)
got a question for you.

I have a former student who has an issue you might have suggestions on how to solve it.

He shot footage with a JVC GZ-MG21U, this is one of the tapeless, direct to hard drive cameras.

He's trying to import the footage so he can edit it in Final Cut Pro. The only info he's found so far is to chang the file extentions from .MOD to .MPG - this works - but this appears to be Audio only. Is the audio stored somewhere else? or is there some thing special he has to do to get Final cut to "see" the audio in the file?

or ???
Oct. 9th, 2008 09:44 pm (UTC)
Hrm... I actually use a program to convert the .TOD files to mpegs. The .TOD is actually a wrapper for the Mpeg file. My proggy came with the camera-- I don't know how to go about it on a Mac.

Quick online look says to use Quicktime Pro to convert them.

"JVC supplies a CD with an installable OS X driver that enables Apple iMovie HD to import TOD files. iMovie HD can import both 1920x1080 and 1440x1080 clips directly from the HD7’s hard disk, an optical disc, your computer’s hard disk, or a FireWire hard disk. (For some reason, TOD clips are slightly light.)

The downside of working with iMovie HD is that clip import requires a great deal of time because TOD files are automatically transcoded to AIC files during import."

You can also try renaming the .TOD files to .M2t files (it's an Mpeg-2 transport stream) and see if that works for editing.
( 2 comments — Leave a comment )

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