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how do I get sync Time code and SDI out of Canon XL H1

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hdfilmmaker
how do I get sync Time code and SDI out of Canon XL H1
on Oct 11, 2007 at 7:23:24 pm

I am capturing my footage from the Canon XL H1 out through SDI. How do I get timecode from the camera with the video so that I will have the reference in FCP?

Is that the color red you want to use?


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Matte
Re: how do I get sync Time code and SDI out of Canon XL H1
on Oct 11, 2007 at 8:31:30 pm

What capture card?

How do you have the DECK CONTROL connected?

TC can come in via RS422.


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hdfilmmaker
Re: how do I get sync Time code and SDI out of Canon XL H1
on Oct 11, 2007 at 8:43:46 pm

I am using the KONA LH card and I have a BNC connected to the SDI in on the Card and SDI out on the camera. I have a firewire connected to the camera and when I open LOG CAPTURE it say that I will not be able to initilized the connectiion.

Is that the color red you want to use?


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Matte
Re: how do I get sync Time code and SDI out of Canon XL H1
on Oct 11, 2007 at 9:02:36 pm

From looking at the specs on the card and the camera...

You can't hook up the camera to RS422 control.
The control of the camera is via FireWire (and the TC will be available on the FW signal.
There is also a BNC jack on the camera that feeds TC.
But the Card does not have a TC input.

See if there's a KONA preset that accepts A/V via SDI and transport/deck control via FireWire.

If not, with the choices you have, you may not be able to capture SDI and have the tape's TC at the same time (as you would if you captured via FireWire.)

You MIGHT need to rent a deck.

That's all I can find on this end.


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Donald Berube
Re: how do I get sync Time code and SDI out of Canon XL H1
on Oct 19, 2007 at 10:28:13 am

The SDI terminal of the XL H1 is extremely beneficial in a live capture situation such as in the studio or in the field (live multicam switched video production, live remote capture, etc) as it allows you to bypass the HDV compression that goes to tape. This allows you to capture or monitor the live camera output as a raw, uncompressed signal, provided that you have the proper capture/ monitoring system. This way, you can choose whichever codec you desire to record your live footage with (again, provided that you have the proper recording system). Once you have recorded footage to HDV tape, however, that footage is now compressed regardless if you ingest it from the FireWire output (HDV over FireWire) or if you ingest it from the SDI terminal of the XL H1.

You have some options, following are two that come to mind:
a) Use FCP 6 with one of the latest Intel Macs. Ingest as HDV over FireWire. Create your sequences using the ProRes 422 codec. Drop your HDV source files into your ProRes 422 sequence and start cutting. Now you are no longer dealing with the constraints of the HDV codec as an editing codec. You'll be I-frames based, with a bigger color space and a larger data rate - less destructive when you are applying filters and effects and such... You'll then be able to use the Kona to monitor your edit on an external NTSC HD monitor in real time.

b) If you prefer to ingest into KONA via SDI, do it using a Convergent Design HD-Connect SI.
http://www.convergent-design.com/CD_Products_HDConnectSI.htm
The HD-Connect SI allows you to input the HDV FireWire signal from any HDV camcorder and it will output that signal as SDI with embedded audio plus output TimeCode and deck control via RS422. This will allow you to ingest video, audio and TC in one pass using your KONA. Then you can set FCP to ingest your footage using an I-frame based codec, such as DVCPRO HD or even better 8-bit Uncompressed HD (provided that you have the proper drive storage). You'll then be able to use the Kona to monitor your edit on an external NTSC HD monitor in real time.

I still prefer ProRes 422.

Hope this info helps,

- Don
DONALD BERUBE
http://noisybrain.com
http://www.bosfcpug.org


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