So you shoot HDV… great, you now have a hard archival copy of your footage (got to love tape). The major question up until now (for me) has been, how do you deal with this less than amazing codec in post. While I have presented the ProRes 4:2:2 option, there is another way which makes things even more brilliant, than before: HD-SDI. Holy smokes why didn’t I know about this before now! I knew of SDI… great way to playback video with minimal quality loss. HD-SDI is that and a bag of chips. The SDI signal carries pure digital audio with it and through the wonders of BlackMagic, can be captured into FCP. Yes, this has probably been around a while, but you have to understand… as I have just learned about it - I’m a kid in the freaking candy shop!

In the past, I have questioned why you would spend an extra $3,000 on a camera with a “jack-pack” which includes HD/SD-SDI… but it is all clear to me now. Here’s the post system setup: One badass MacPro, with one Blackmagic DeckLink HD Extreme card (http://www.blackmagic-design.com/products/hd/), your new HDV jack-pack cam…. and… and… oh wait.. THAT’S IT! No more… through the HD-SDI out of the camera, and the HD-SDI in on the DeckLink card, you are able to tell FCP to capture your HDV as full blown 1080i or 720p HD - through hardware, not software. No transcoding to anything once the media is capture… just you and your newly found HD files, loving each other in all the ways a person can love a set of binary.

Now also consider this: Sony also makes a sweet HDV deck that sells for about as much as an HDV camera… however, the deck makes things even nicer. Because you have the DeckLink card, you are able to control the HDV deck video RS-422 controller built into the card! Other bonuses… add a HD-SDI monitor or an HDMI monitor to the system, and you can run your video to it video the DeckLink card. There are many other small upsides to this DeckLink card - visit their site for all of them.

Now why am I all gitty about HDV now? I mean, if you could shoot tapeless and not have to log and capture all that tape, why would you? With the cost of the card, and the camera, you could easily get a HVX200 or a Sony EX-1. Why would you put your self in the HDV world when you could have “much more?” I would go HDV over tapeless HD because I don’t have to archive everything I shoot on to a hard drive and worry about that hard drive dying on me… I start a tape library with a good (am I mean good) logging/cataloging system for the tapes, I find a self, and stash them for the rest of my life! I could go on, and on - but I think I have finally found my answer to this question of, “What do I buy and invest in for a professional home/freelancing system” Answer: HDV.

Additional Links:
My (current) “dream” setup:
The Camera: Canon XH-A1 (or jack-pack XH-G1)
The Deck: Sony HVR-1500
Card: BlackMagic, DeckLink HD Extreme
Approx. Total Cost: $10,000
OR
Approx. Total Cost: $7,500 (no deck - camera with jack-pack)

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I sent a 750GB HD off to L.A. about a week ago ready to be loaded with 170GB of RED RAW footage. I’m talking the copied the entire contents of the cards (or RAID) they shot on, on to the Hard Drive. The files are like nothing I’ve seen before. Audio and video are separate, and there are about 30 folders (reals) with footage in them. About 170 clips all together.

Before I could even look at the footage, I had to go to RED’s web site and download the necessary plug-ins for FCP.
After doing that, Quick Time was able to open the RAW files and…. and…. Oh my God… they were HUGE and AMAZING! Like no other piece of “video” I’ve seen before. At 100% it didn’t fit on my 22″ monitor running at 1680 wide. I checked… yep, the clips are 1920×1080. Oh and did I mention all 4k.

After I calmed down a bit, I realized editing these files Real Time in FCP would be a joke. I read some RED forums online and found another plug in that transforms the Log & Transfer window in Final Cut into a media transcoder for RED footage. Basically you get 1920×1080 Apple ProRess 4:2:2 (HQ) clips out of the RED footage. Much more manageable for FCP.

As we speak the 170 clips are ingesting at the studio; I chose to do it over night! Hopefully in the morning I will have something to start working with.

As a closing note: There is still a lot for me to uncover when it comes to work with this footage. It took me about two hours to get the point where I knew what I needed to do with the RAW footage to work with it in FCP. I could choose to finish the project in the ProRes, but seriously… I have RED RAW 4k files here… I want to finish in 4k! I’m still reading up on the workflow for that…. it doesn’t sound easy. Check back - I’ll keep posting on my progress and be sure to post a summary of my findings and workflow!

For now,
S

PS - I will post a link to a RED RAW file for you to download. Its HUGE and will take a while, but at least you can see the quality!

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IRE (Institute of Radio Engineers)  - Also refers to an analog video signal unit of
measurement for luma, established by the Institute of Radio Engineers.

The IRE level is indicated on the waveform monitor.

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Beyond HAHA, Wallstrip has two shows in the “Honoree” category. CALM and U.S. Dollar. While these two shows aren’t able to win awards, they noted as in the 15% or better of all enteries submitted. The Shop here could not be more excited about this recognition for our work in web video. Winners are announced May 6th.

There is a “People’s Choice” award, and I would love it if you guys would vote for HAHA. I’ll be sure to post the results as we know them!

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I keyed out the green, dropped a color matte behind the footage and applied a luma travel matte to the studio footage. This didn’t get me too far. I swapped the two tracks and applied the travel matte to the footage this time…. and Whallla! I was seeing the above track matted by the keyed footage below it. However, only the lightest areas of the footage were showing through. I changed to a alpha travel matte. While this completely matted the image based on the outline of the keyed footage, I still wasn’t getting any depth like in Kanye’s video.

Knowing that a luma travel matte working on the idea of brightness (or amount of white) in an image, I decided to add a 3-way color corrector to the studio footage. I then boosted the whites and mids most of the way up. I turned to blacks up slightly as well. Sure enough, there it was. I could throw anything on that top track, set its composite mode to “Travel Matte - Luma” and I’d have the effect. I moved both tracks to V2 and V3 and put another color matte on V1 to recreate the background.

I looked at this composition closely and realized…. I just created the iPod commercial effect. Has apple really been using a technique that was this simple. Granted when Apple does it, they have flying partials, moving cameras and a host of other elements to control, but the base effect was this? Awesome! While the effect can only properly be done by the post people working with Apple, I thought it was pretty sweet to mimic the effect in shop here.

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After carefully reading the install instruction and reading up on PCI slot choices, I popped open the MacPro and dropped the card into slot #2. Blackmagic’s site mentions that you may be prompted to adjust performance to the slots, but after powering up, I wasn’t prompted. Granted this is the only other card in the machine besides our ATI (ehh) video card.

After installing the software there wasn’t a noticeable difference in the performance of the computer, heck there wasn’t even any outward difference in starting FCP, Color or any of the other apps. However, FCP now has more easy setups, and more options under external video monitoring. I connected our 9″ Sony production monitor via the component out (NTSC out) of the card. Instantly, after setting the Video Output in FCP to Intensity NTSC, the monitor showed video. Amazing! Beyond FCP, I then became interested in if Color would also broadcast to this monitor in the same way. I fired up color, and bam! I had an external monitor for color correcting in Color! Sweet! At $350, this card was becoming a GREAT investment.

We currently don’t have a HDMI monitor in the shop, but I’m pulling for a low end small HDMI TV (about $500). Stay tuned as I will be testing the capture capabilities of this card. But if its as easy as setting up an external monitor, I’ll be highly recommending this product to anyone with a MacPro.

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Have you seen this yet? MobLogic is a revolutionary web video destination. Head on over to the site and you’ll see what I mean! They player on the front page is HUGE!! 800px wide. If you find it somewhere else on the web, I’d love to know about it. Beyond this flashy exterior the concept of the show is solid. “News and politics the way you want them;” “Of the people, for the people, by big media,” lead the list of my favorite tag lines for the site. The show is run and produced by Adam Elend and Jeff Marks of CBS, but more importantly, the producers of Wallstrip.

“With MOBLOGIC, our goal is to put the news in context and make it viral!” says Elend. “We’re gonna make you laugh, we’re hopefully gonna make you think, and most importantly, we’re gonna deliver the news in a way you can relate to.”

Check it out. It will completely change your idea of how you want your web video! I’m sure to be posting on MobLogic’s post production and approaches to producing web video. Enjoy!

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