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Edit workflow with AJA Kona LHe when shooting 720p DVCPRO HD

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Timothy Eck
Edit workflow with AJA Kona LHe when shooting 720p DVCPRO HD
on Dec 22, 2010 at 6:42:09 pm

(Reposting from FCP forum due to AJA-specific aspects to the question)

We have been an SD-only shop until very recently, but now we have the opportunity to produce some HD promotional spots. We will be shooting in DVCPRO HD 720p on P2 cards and importing into Final Cut Pro via Log and Transfer.

Our understanding of DVCPRO HD is that the files we will be importing will be anamorphic (960x720 rather than 1280x720... and 1280x1080 rather than 1920x1080). Is this correct?

If so, we are not sure where to go from there, workflow-wise... Do we work on an anamorphic (960x720) sequence? or a square-pixel sequence (1280x720)? What makes things confusing is we have AJA Kona LHe cards in our Macs... and the stock Final Cut Pro sequence preset for 720p59.94 seems to be anamorphic (960x720), while the AJA preset for 720p59.94 seems to be square pixel (1280x720).

Furthermore, should we create graphic elements for editing these spots in anamorphic (960x720) or square pixel (1280x720)?

We will be delivering the final product via Quicktime .MOV files and uploading them to our regional master control. What's the best way to output the final product? DVCPRO HD encoded .MOV files at 960x720? or 1280x720? Is a square pixel Quicktime file even possible when outputting with the DVCPRO HD codec? From talking to one of our head-end engineers, the cable boxes with which our viewers receive the material output 1280x720 on their end.

In review:

FCP SEQUENCE: 960x720? or 1280x720?
GRAPHICS: 960x720? or 1280x720?
OUTPUT: 960x720? or 1280x720? codec?

Thanks in advance...

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Doug Beal
Re: Edit workflow with AJA Kona LHe when shooting 720p DVCPRO HD
on Dec 23, 2010 at 1:22:26 pm

Use the AJA easy setup for DVCProHD 720P VFR if you shot 23.98 (24PN)
This will playback at 59.94 in the timeline and display at 1280 x 720 to your HD/SDI monitor.
For a tutorial look here

It's critical to know what your regional master control wants to distribute, Your delivery will need to match what regional control wants to feed their encoding station/server
By the time it gets to the consumer it'll be some mpeg encode via cable or air.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

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