DigiBeta Workflow

I will capture a lot of Digibeta tapes using an Avid Media Composer with a Mojo attached, simply because I do not have the technical means to capture directly into FCP. I will then edit in Final Cut Pro.

What do you think of this workflow: Capture in Avid using its 1:1 codec. Then export as DVCPro 50 Quicktimes. Then import and cut that in FCP and export master.

There will not be heavy color grading or effects work. The delivery media will probably be DVD. It should look nice though :-).

The reason I chose DVCPro 50 is because of the manageable file size (I will have to deal with 10 to 13 hours of footage).

What do you think?

Is it Avid on a Mac?

If it is then no problem, however test a file in QT DVCpro50 from the PC if you are using that. Make sure they are .mov and not AVI...

The DVCpro50 files have the same colour encoding (8-bit 4:2:2) as Digibeta so you shouldn't loose a noticeable amount in the conversion.

Let us know how you get on.



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It's Avid on a Mac. Thanks for the info! I'll try it out.

Too many steps. Gonna lose a lot going from 1:1 to DV50. I would capture / cut / output using the Avid.

When life gives you dilemmas...make dilemmanade.

Joey you perfectionist you!

Whilst not Uncompressed; DV50 is massively better than DV25. No issues with Reds or nasty colour sampling loss.

If in doubt, do a test and see if the quality is noticeably different.



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Seems like a pretzel workflow. Couldn't you save the time and quality exporting Avid 1:1 and rent yourself a Kona card and attach it via SDI with embedded autio, from the deck? Right into FCP ProRes 422HQ and final program back out to DigiBeta? Why not?

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Ben,

Yep...I am proud of my perfectionism

DV50 is much better that DV25...but DV25 is the bottom of the barrel so that's not sayin' much, my friend

Why would you even need the Avid if you rent a Kona card? Why not skip it all & rent an I/O HD and go with ProRes 4:2:2 as the ingest codec right into FCP?

SIMPLIFY.

When life gives you dilemmas...make dilemmanade.

Its convoluted but maybe the Avid is booked for something else?

Maybe there is not enough storage for editing on the Avid at 1:1 or 1:2?

Maybe just maybe the editor can stand Avid editing and demands to use FCP! (I would if I had a say!)

Whatever the reason for going this route it should work and maybe the budget won't allow another way.

I love your work Joey and perfectionism you know that, although there was this one thing....





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Ben King Wrote:
-------------------------------------------------------
> Its convoluted but maybe the Avid is booked for
> something else?
>
> Maybe there is not enough storage for editing on
> the Avid at 1:1 or 1:2?
>
> Maybe just maybe the editor can stand Avid editing
> and demands to use FCP! (I would if I had a say!)


Yupp, that's pretty much it. The Avid is booked and I wouldn't really know how to handle it either.

There are probably more elegant ways of doing it (the ones you guys mentioned), but I would really like to avoid bringing in equipment for this. I'll let you know how it worked out.

grafixjoe Wrote:
-------------------------------------------------------
> Too many steps. Gonna lose a lot going from 1:1 to
> DV50. I would capture / cut / output using the
> Avid.

true. either you capture straight to dv50 in final cut (if you have a capture card that allows you to reel in footage via SDI).

Didn't know the prores 422 worked in SD.

Err am i missing something here or why not just rent a J-30 and capture it via Firewire...

Quote

Err am i missing something here or why not just rent a J-30 and capture it via Firewire...

Yes you are...

SONY J30 will cost extra... They have an Avid suite already.

FireWire J30 will only transfer DV25... 4:1:1 NTSC or 4:2:0 PAL

DVCpro50 is 4:2:2


oh and are you around for Christmas drinks this week?



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Why not offline edit the video? That way, when you pump it up to full res, you'll have superior quality. Of course, you need to make sure that you use as little effects as possible.