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HDV@Work

Nov 28, 1997 5:53 PM

How do you edit 24fps HDV?
Steve Mullen

Recently I’ve seen several desperate postings on the Net to the effect that, “I’ve just shot 100 hours of 24p on my new JVC GY-HD100 in Timbuktu and now I can’t find editing support for 24p.” My usual temptation to post a comment about the lunacy of shooting before one knows there is an editing solution has been tempered by my frustration at the major NLE vendors who, in fact, have not yet released 24p editing solutions.

Buyers of the HD100 have every reason to expect such support given the fact that the 720p HDV specification was made public in the fall of 2002. Fundamentally, 720p HDV is essentially identical to the ATSC 720p standard, with the exception of MP2 audio rather than AC-3 audio. The heart of both is MPEG-2, also a well-documented standard.

It shouldn’t be too much to expect major NLE vendors to have engineers with a deep working knowledge of all three specifications. And, as I reported in the October 24 issue of HDV@Work, JVC’s 24p is a logical implementation that uses MPEG-2 Repeat Flags. In short, anyone implementing HDV support by fully supporting MPEG-2 should have software capable of handling any version of HDV. That’s because JVC uses Repeat Flags to carry 24p within 720p60, while Canon uses 2:3 pulldown to carry 24F within 1080i60.

There is, however, one small company that does understand HDV and, it's released a total solution for editing 24p. Moreover, in the next week the company will release support for Canon’s 24F. The company is CineForm, which sells AspectHD ($499). AspectHD is a software plug-in for Premiere Pro. Once installed it provides the following 24p capabilities: 24p capture with timecode fully integrated into Premiere’s capture function; a high-quality intermediate codec called CFHD; a complete set of realtime transitions and filters; and the capability to generate and export 24p HDV back to the HD100.

In my brief tests using a 3.2GHz P4-based laptop, I was able to play four color-corrected clips superimposed over each other. Export from Premiere required only a 2:1 ratio. I had no problem recording to the GY-HD100.

There are three quasi-solutions available for Final Cut Pro. The first uses HDV capture and conversion software called HDVxDV, available for only $80. Using it, you can perform a basic immediate capture of 24p HDV with timecode. You can then convert it to 24p AIC (Apple Intermediate Codec, which offers excellent quality for progressive video) or DVCPRO HD 720p60 (which results in a reduction of horizontal resolution from 1280 to 960 pixels).

In order to output the appropriate image size you must set HDVxDV Preferences to “HDTV 720p 1280x720.” Unfortunately, the conversion is very time-consuming, which limits this approach for projects with many hours of source material. The 24p video plays with no problem in a 23.98fps Sequence.

The second approach is to convert the 720p60 analog component output from the HD100 to HD-SDI using, for example, an AJA transcoder. Either a Kona or a Blackmagic HD board can digitize the HD-SDI. The 720p60 video can be edited within a 720p59.94fps Sequence or within a 720p23.98 Sequence

The third technique is to treat the HD100 camcorder as two devices – an HDV video player and a digital audio player. (Filmmakers will recognize this as “separate system” sync audio.) First, the dual-channel MP2 audio is digitized via an analog connection between the camcorder and a Mac. The entire audio segment is recorded to an AIFF file.

Then, HDV video is captured into a Bin using FCP’s AIC Scene Detect function. During capture, the MPEG-2 Repeat Flags are dropped and only four six-frame GOPs per second are stored to disk as 24fps video. Unfortunately, the AIC codec defines the timebase as 59.94fps. Thus you need to use Cinema Tools to Batch Conform the video clips in the FCP Capture Scratch folder to 23.98fps video. Now Reconnect the clips from the Conformed 23.98 folder within the Capture Scratch folder.

Next, the audio-only clip is dropped into a 23.98fps Sequence. Finally, the video clips are dropped, in order, over the audio and synchronized. Now the audio+video clips are cut –- and locked into AV clips –- and placed back into a Bin. (For more detailed information on this process click to www.mindspring.com/~d-v-c.)

Hopefully, Avid Xpress Pro HD and Final Cut Pro will have completely integrated support for both 24p and 24F in the near future. However, in case they do not, you now know both an XP and an OS X solution.

Matrox Axio release 1.5 now shipping

Matrox Video Products Group announced that release 1.5 software for the Matrox Axio family of HD and SD editing platforms is now shipping. This new release provides realtime native HDV and DVCPRO HD editing support with the ability to mix HD codecs or SD codecs on the timeline in realtime. Other release 1.5 features include realtime high-quality downscaling from HD to SD, the ability to edit HD formats on Axio SD systems, and additional realtime effects such as mask blur, mask mosaic, four corner pin, and track matte.

Matrox Axio utilizes Adobe Premiere Pro to form a realtime HD and SD editor for demanding broadcast and postproduction environments. It features no-render HD and SD finishing in compressed and uncompressed formats, superior color-correction tools, advanced realtime effects, and a full range of analog and digital audio and video inputs and outputs. It incorporates Matrox Flex 3D and Power of X technologies to leverage scalable CPU power with the explosive performance of dedicated 3D graphics hardware to provide the ultimate SD and HD editing experience.

"In response to the growing use of HDV and DVCPRO HD in professional postproduction, we are providing our customers with native editing support of these important formats on both Axio HD and Axio SD," said Alain Legault, Matrox vice president of product development. "We are also giving users a new level of flexibility with the ability to mix these HD codecs with other HD footage on the timeline in real time and to edit HD formats on lower-cost Axio SD systems."

There are two Matrox Axio platforms to choose from. Both edit all HD and SD formats. They differ only in the audio and video inputs and outputs provided on the interchangeable breakout boxes. Both Matrox Axio platforms offer:

--Guaranteed full-quality, full-frame-rate, full-resolution playback at up to 1080i at 29.97fps
--At least two layers of uncompressed 10-bit HD video plus two layers of graphics in real time, with effects*
--At least four layers of uncompressed 10-bit SD video plus six layers of graphics in realtime, with effects*
--Realtime primary and secondary color correction with shot-to-shot color matching
--Realtime 3D DVEs, chroma/luma keying, speed changes, blur/glow/soft focus, and much more
--Uncompressed 8- or 10-bit HD and SD editing
--Native HDV and DVCPRO HD editing
--Compressed HD editing (offline and online finishing-quality MPEG-2 I-frame)
--DV, DVCPRO, DV50, and MPEG-2 I-frame SD editing
--Realtime mixing of HD codecs or SD codecs on the timeline
--24fps editing in HD and SD with pulldown and reverse pulldown
--Realtime high quality downscaling from HD to SD

Matrox Axio HD I/O:
--DV 1394, SD-SDI, and HD-SDI input and output
--RGB and YPbPr analog component output
--4-in/8-out AES/EBU balanced audio, 8-in/8-out SDI embedded audio

Matrox Axio SD I/O:
--DV 1394, composite, Y/C, analog component, and SDI video input and output
--2-in/2-out RCA and XLR audio, 8-in/8-out SDI embedded audio
--Upgradeable to Matrox Axio HD by simply adding the HD breakout box

(* Realtime performance increases significantly with dual-core systems -- up to double the number of realtime layers.)

Matrox Axio release 1.5 is now available for free download from the Matrox web site by registered Matrox Axio owners. Matrox Axio systems are available worldwide through a network of authorized dealers. The software and hardware components are integrated by the dealer into an approved workstation-class PCI-X computer, coupled with a robust storage subsystem, and delivered as a turnkey system. Dealers also provide on-site installation and training services.

Matrox Axio HD systems start at $17,000 US in North America. Matrox Axio SD systems start at $13,000 US in North America. Prices include Axio hardware and software, the complete Adobe Video Collection Standard, and the workstation. Storage is extra.

Leitch ships VelocityHD 9.1 with HDV, VariCam, and more

Harris Corporation today announced that version 9.1 of Leitch's VelocityHD nonlinear editing (NLE) system is now shipping. This new release enhances the six-time award-winning HD/SD NLE solution with support for the HDV high-definition format, variable frame rate processing for content from Panasonic's VariCam, broadened standard-definition format support, and more.

VelocityHD 9.1 supports direct IEEE 1394 ingest of both 1080i and 720p material from HDV devices. HDV content can be mixed seamlessly with other HD formats on the timeline. New processing for variable frame rate content from the Panasonic AJ-HDC27 VariCam camcorder allows the removal of the material's non-active frames while recording the HD-SDI input stream, enabling support for 24fps VariCam content plus VariCam's "overcranking" and "undercranking" for in-camera off-speed effects. VelocityHD editing enhancements include doubling the number of real-time, full-quality camera angles supported in HD multi-camera editing from two to four.

VelocityHD 9.1's broadened standard-definition format flexibility includes direct timeline support for DV25 material from many tapeless recording devices, and DVCPRO25 and DVCPRO50 content from Panasonic's P2 media-less memory-based products. VelocityHD 9.1 also supports project and media files from Leitch's standard-definition Velocity and VelocityQ editing systems.

"Version 9.1 bolsters the high-performance, 'true realtime' productivity benefits of VelocityHD with broadened format flexibility and support for the unique capabilities of popular acquisition choices such as VariCam and P2," said Randy Fowlie, Leitch vice president and general manager for Digital Media. "And with new HDV support, VelocityHD is the perfect solution for customers needing to combine HDV content with material from higher-bandwidth HD formats without sacrificing performance."

The VelocityHD nonlinear editing system combines the innovative Altitude hardware platform with the acclaimed Velocity software interface, delivering exceptional high-performance, realtime postproduction editing flexibility. VelocityHD features full-quality, realtime HD playback of multiple video and dynamic graphics streams with true dual-stream, realtime HD transitions and effects. VelocityHD supports 1080i, 1080PsF and 720p frame formats at all common frame rates, with mixable compressed and uncompressed video. All VelocityHD systems also offer outstanding multi-stream, standard-definition editing performance.

VelocityHD version 9.1 is now available as a free download from the Leitch website, www.leitch.com, for all registered VelocityHD users.

CyberLink PowerDirector 5 supports Sony PSP format, HDV import

CyberLink Corp., a world leader and pioneer in providing integrated solutions for the Digital Home, today announced that CyberLink PowerDirector 5 enables the production of widescreen and high-definition movies, and the output of video files using CyberLink’s optional MPEG-4 AVC encoder or the Sony PSP-compliant MPEG-4 SP format. PowerDirector 5’s ability to import, edit, and output high-definition video, and its support for HDV camcorders and native 16:9 aspect ratios, turns home-video editors into Hollywood directors, letting them create videos for playback on the latest TVs in 1080i or 720p resolution.

Support for MPEG-4 AVC and MPEG-4 SP, via optional plug-in packs, allows the creation of high-quality, compressed video files with low bit rates. Both formats are designed for new mobile devices where storage is limited. With over 10 million Sony PSP units sold worldwide, CyberLink has licensed Sony’s Memory Stick Video Format for the production of MPEG-4 SP video for playback on the Sony PSP.

PowerDirector 5 also allows burning to a complete range of DVD and CD media via a CD-R/RW, DVD-R/RW, or DVD+R/RW burner. Users can burn their high-definition widescreen movies to a DVD, play it on their home DVD players and view in a 16:9 native aspect ratio on their widescreen HDTVs. “CyberLink PowerDirector 5 takes consumer video editing to the next level with an incredible combination of format upgrades and user-centric improvements,” said Alice H. Chang, CEO of CyberLink. “With the increasing popularity of LCD and plasma TVs and the growth in sales of high-definition video cameras, users now have an easy way to create stunning movies that are designed for playing on larger, more detailed displays.”

CyberLink PowerDirector 5’s High Definition Format Support:
--Capturing: HD MPEG-2 from HDV camcorders
--Importing: HD MPEG-2, WMV-HD
--Output: HD MPEG-2, WMV HD, MPEG-4 AVC CyberLink PowerDirector 5 offers the following features: --New Magic Tools: Magic Style and Magic Fix
--Improvements to existing Magic Tools: Magic Cut, Magic Clean, Magic Motion, and Magic Music
--Enhanced CyberLink RichVideo technology, featuring Smart Captions
--Support for high-definition video
--Support for HDV camcorders
--Support for 16:9 aspect ratio video content
--Optional support for MPEG-4 AVC and MPEG-4 SP
--Faster previewing of clips with a new low-resolution preview setting and the ability to disable specific timeline tracks while viewing others
--Upgraded Title Designer featuring multiple text layers
--CyberLink Virtual Speaker settings for DVD audio

© 2009 Penton Media, Inc.