Slide 1 ___________________________________ Advanced Tapeless Acquisition Models Bruce Balmer, CLVS Jason Levin, CLVS October 18, 2014 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 2 ___________________________________ Overview • Digital Video Cameras – Capture Formats – Understanding Camera output settings – Recommended Models • External Digital Video Recorders – Understanding Recorder input and recording settings – Recorders, SD / Proxy Recorders, and Encoders • Picking the Right System for you • Post Capture Workflow and Archiving ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 3 What digital formats are typically captured? STANDARD DEF • • • • • DV in a AVI-T2 Wrapper H.264/MPEG-4 MPEG-2 Quicktime VOB (DVD Disk) HIGH DEF • • • • • • • • • Apple ProRes 422 Uncompressed Quicktime Avid DNxHD AVCCHD AVC-Intra NXCAM XDCAM HDV H.264/MPEG-4 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 4 Why So Many Formats? • Mac versus Windows-based platforms ___________________________________ ___________________________________ – Apple ProRes 422 – Avid DNxHD • Competing camera and recorder manufacturers – Panasonic AVCCHD, AVC-Intra – Sony NXCAM, XDCAM, HDV ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 5 Why So Many Formats? • Different user requirements – Superior color/size for movies and broadcast – Editing ease with less compressed formats – Proxy files for quick review, editing, and worst case archiving – H.264 for archiving and quality/size issues – DVD versus Blu-ray (SD versus HD) delivery ___________________________________ ___________________________________ ___________________________________ • Different chroma subsampling specs – 4:4:4 versus 4:2:2 versus 4:2:0 versus 4:1:1 – Chroma subsampling requirements should drive what type of digital video recording system you choose. ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 6 Common Chroma Subsampling Ratios • 4:4:4 – No subsampling – Best color • 4:2:2 – 50% of 4:4:4 – Chroma sampled 50% • 4:2:0 – 25% of 4:4:4 • 4:1:1 – 25% of 4:4:4 • Apple ProRes 4444, HDCAM SR • AVC-Intra 100, XDCAM HD422, MXF HD422, ProRes 422 • HDV, AVCCHD, Apple Intermediate, MPEG2, DVD • DVCPRO, DVCAM, NTSC DV The Anatomy of Chroma Subsampling, Chris “Ace” Gates, Videomaker, September 2013, Videomaker, Inc., p. 35-38 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 7 What this means to you: • The common legal video deliverable will use 4:2:0 or 4:1:1 chroma subsampling • This subsampling leaves less information for color correction, making white balance more important on the captured video source. • Most cameras we recommend record 4:2:0 or 4:1:1 subsampled video. A few capture 4:2:2, and they’re more expensive. Many new digital video recorders capture 4:4:4 or 4:2:2 based codecs, along with 4:2:0. • You can’t make a 4:2:0 or 4:1:1 source look better by capturing it on a 4:2:2 or 4:4:4 recorder – the color information is already gone. It does make it easier to edit. ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 8 What this means to you: • The HDMI / HD-SDI color space does not always track the onboard recording codec color space. Check the manual. • Unless you’re providing other video services like broadcast video, wedding video, or news, a more compressed capture format like HDV, H.264, MPEG-4 or AVCCHD should be adequate for legal video, and particularly for depositions, for the foreseeable future. • A smaller source format can actually be archived without breaking the bank, allowing you to retain metadata that is otherwise lost in a transcoding operation. ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 9 Reading the Camera Manual Step 1 in Creating a System ___________________________________ ___________________________________ ___________________________________ ___________________________________ Panasonic AG-AC160 Owners Manual, p. 71 ___________________________________ ___________________________________ ___________________________________ Slide 10 Overview • Digital Video Cameras – Capture Formats – Understanding Camera output settings – Recommended Models • External Digital Video Recorders – Understanding Recorder input and recording settings – Recorders, SD / Proxy Recorders, and Encoders • Picking the Right System for you • Post Capture Workflow and Archiving ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 11 Digital Video Cameras • Key points – Capture format – Capture media • Number of slots • Cost per GB • Media lifespan – HD / SD versus HD only • All outputs have date stamping? • Date stamp positioned correctly? • Any ports stop working when switching capture formats? – Low light capability – What does each port output in terms of formats? • When you turn one on, what turns off? ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 12 Digital Video Cameras ___________________________________ • Ports are important! – FireWire is typically only SD (or HDV). However, if you have a computer with a FireWire port, you can easily stream to the web ___________________________________ – HDMI is the default HD port. It’s limited to a cable length of 50’ (15m) if you have a high quality shielded cable, and safer at 30’. – HDMI may offer different recording options that aren’t available with the HD-SDI port. – HD-SDI is the best SD/HD source video port. The maximum cable length grows to 300’ and the options for attaching professional video mixers, recorders, and monitors expands. So does the cost of the devices! – 3G-SDI supports 1080p capture. The bandwidth requirement is twice that of 720p/1080i. ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 13 Digital Video Cameras • HD only or SD / HD • Capture format ___________________________________ ___________________________________ – Industry still in transition. – Future proof camera purchase important – AVCHD • AVCCHD • NXCAM – – – – – – – • MPEG-4 / H.264 DV HDV MPEG-2 DVCPRO HD AVC-Intra AVC-Ultra ___________________________________ Two formats or one? – Newest twist is to be able to capture a lower resolution for WiFi and a higher resolution for final ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 14 ___________________________________ Capture Media • Card based – Prices as of early October 2014 $ for 32GB $ for 64GB Largest Size* Transfer Speed $60 - $100 $70-$205 512GB 50-160 MB/s Media CF P2 P2 Micro • • • SDHC SDXC SxS $430 $620 64GB $230 $330 64GB 2 Gb/s $30 - $50 N/A 32GB 45-90 MB/s N/A $40 - $80 512GB 60-90 MB/s $315 $495-$725 128GB 1.2 Gbps ___________________________________ 1.2 Gbps Get fastest read/write speed you can afford Exceed class requirement (speed is cheap) * Largest size currently available on commercial market ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 15 Digital Video Cameras • How many GBs do I need for a deposition? – You should be able to capture at least 10-12 hours of testimony per day OR – You need to be able to offload the same amount of testimony per day – Either • You can buy enough media • You develop an onsite offload strategy • Ref: Camera Manual, Capacity Calculator ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 16 Digital Video Cameras • Slot Count – One slot • Offers no options ___________________________________ ___________________________________ – Two slots • Simultaneous/Redundant – Does not address second recording device – Protects against bad media but not bad source signal • Consecutive ___________________________________ – Allows for continuous recording – Does not account for bad media – Maximizes utilization of each card • Dual Format – Potentially capture multiple formats at same time – Very limited availability, but where market is heading ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 17 Digital Video Cameras • Output Ports – Composite/Video • Only 480i • Some cameras do it well, some do not • Cable quality makes a difference! – S-Video • Pretty much gone – Component ___________________________________ ___________________________________ ___________________________________ • Analog versus Digital – not the same! – FireWire 400 / 800 • Disappearing – only supports HDV in HD – HDMI – 3G-SDI / HD-SDI / SD-SDI ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 18 Digital Video Cameras • Want at least one port for external monitor – Consider a loop through monitor if you are capturing SD and want to use this source for a DVD recorder • Want at least an HDMI port with new camera • HD-SDI is a great upgrade – Secure coupling – Will travel long distances without boosting signal – Easy to add HDMI or HD-SDI port(s) with converters from various companies • http://bit.ly/LVCameras ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 19 Digital Video Cameras • Canon – MPEG-2 Long GOP MXF • Yeah but cameras ___________________________________ ___________________________________ – XF100 – XF105 • XF300 • XF305 – MPEG4/H.264 • Yeah but cameras ___________________________________ – XA10 (records date and time on media) – XA20/XA25 (records date and time in meta data, not on media or screen) – Note: • These cameras shoot hh:mm, no seconds • If you live in MI, PA, WI, CA – think twice • Not on official CLVS Legal Video Camera list ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 20 Digital Video Cameras • JVC – GY-HM600 ProHD – GY-HM650 ProHD • • • • • • XDCAM Long GOP MOV (HD), AVCHD, H.264 (SD) Can deliver wireless video to attorneys in depo -- futureproof? HD-SDI and HDMI connections Two SDXC/SDHC Slots (can record to 2 different formats simultaneously) Can output time/datestamp XDCAM requires special viewers / codecs ___________________________________ ___________________________________ ___________________________________ – GY-HM850/890 ProHD • Separate lens • JVC cameras represent where the market is heading. Multiple format capture, FTP capability, great recording codecs. • The 850/890 are at the upper end of the normal legal videographer’s price point. ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 21 Digital Video Cameras • Panasonic – AVCCHD/DV • AG-AC130a, AG-AC160a • AG-HMC80 • AG-AC90a – Be very careful – you can only deliver widescreen video with this camera. Cannot crop to SD due to placement of datestamp – AVC-Intra/DVCPRO HD • AG-HPX250, AG-HPX370 – The AG-AC160a is the best bang for the buck, period, if you’re focused on deposition capture, due to it’s recording codec, optics, and port options. The AG-AC130a is HDMIbased and another good option. The AG-HPX250 has suddenly gotten inexpensive – and maybe worth considering. ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 22 Digital Video Cameras • Sony – AVCHD/AVCHD 2/MPEG-2 ___________________________________ ___________________________________ • HXR-NX5U NXCAM • HXR-NX3 NXCAM – New Release HXR-NX3/1 – The NX5u and NX3 are well-valued and excellent for deposition work. The NX3 has more recording options. The NX5u has HDSDI ports. The NX3 has simultaneous dual slot recording. Neither supports FireWire capture. ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 23 Overview • Digital Video Cameras – Capture Formats – Understanding Camera output settings – Recommended Models • External Digital Video Recorders – Understanding Recorder input and recording settings – Recorders, SD / Proxy Recorders, and Encoders • Picking the Right System for you • Post Capture Workflow and Archiving ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 24 Capture Media External Digital Video Recorders • External recorders add SSDs to the mix, along with multiple codec options • Solid State Drives ___________________________________ ___________________________________ – Prices as of mid-September 2014 • 240 GB • 480 GB • 960 GB – 1TB $115 - 200 $180 - 270 $450 - 700 – Interface, mean time between failure (MTF) all issues – Prices constantly coming down ___________________________________ • Down from $1 per GB to <$0.50 per GB – SSD devices typically needed with 4:4:4 / 4:2:2 recorders – You may need capacity more than you think – There’s a difference in quality • Rely on manufacturer’s recommendations ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 25 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 26 External Digital Video Recording • http://bit.ly/LVRecorders • Three methodologies ___________________________________ ___________________________________ – Same brand external recorder (Sony) – External encoder attached to computer – External digital video recorder • Output specs (not format) from camera must match input of recorder • Dedicated recording device versus computer/appliance recording device – External encoder with PC most flexible, least robust • Portability on and off tripod • Leverage the additional recording format ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 27 Look for Output Format in Specifications ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 28 I-Frame HDMI HD-SDI Recorders • Some incorporate a monitor, saving the cost of buying an HD monitor for your new HD camera. • Weigh image quality/captured file size/cost • You must be able to match the output specs of the camera with the input specs of the recorder. ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 29 I-Frame HDMI HD-SDI Recorders • External I-Frame digital video recorders – Just because your recorder records 4:4:4 doesn’t mean your camcorder exports 4:4:4 (or 4:2:2) • Recording a 4:2:0 or 4:1:1 signal on a 4:4:4 recorder doesn’t add information back into the signal. Once it’s processed and discarded it’s gone. • It is easier to edit – Lower cost – less format options ___________________________________ ___________________________________ ___________________________________ • Low end BMD Hyperdeck Shuttle is nicely priced, but without updates may not be a good choice. – “Uncompressed” means very large files – Large files don’t need to hang around a long time if this is your redundant recording device! ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 30 I-Frame HDMI HD-SDI Recorders • External digital video recorders – AJA Ki Pro family – Atomos Star*/Ninja/Ninja2/Ninja Blade/Samurai Blade family – Blackmagic Design Hyperdeck family – Convergent Design Odyssey7 – Sound Devices PIX 240i – Vitec Multimedia FS-T2001 * Atomos Star uses proprietary C-Fast cards – 128GB max ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 31 AJA Ki Pro Mini ___________________________________ ___________________________________ ___________________________________ BHphotovideo.com ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 32 ___________________________________ ___________________________________ Atomos Ninja 2 ___________________________________ ___________________________________ BHphotovideo.com ___________________________________ ___________________________________ ___________________________________ Slide 33 Atomos Ninja Star ___________________________________ ___________________________________ ___________________________________ atomos.com ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 34 Atomos Samurai Blade ___________________________________ ___________________________________ ___________________________________ atomos.com ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 35 Sound Devices PIX240i ___________________________________ ___________________________________ ___________________________________ www.talamas.com ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 36 HDMI / HD-SDI /Thunderbolt Computer-based External Encoders • External digital video encoder with computer interface card, Thunderbolt, or USB port – Attach to computer via USB 2.0, USB 3.0, Thunderbolt, or PCExpress card – HDMI, HD/SDI, Analog Composite/Component – HD or SD capture to internal / external computer HD – H.264, Apple ProRes, Avid DNxHD formats – Windows 7 or Mac OSx – Blackmagic Design H.264 Pro Recorder, UltraStudio Mini Recorder, Intensity Shuttle, Express – Matrox MX02 family – Inogeni Converter – Buy the right computer to support the recorder/encoder – Some create really big files, while others don’t. ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 37 Blackmagic Design H.264 Pro Recorder ___________________________________ ___________________________________ ___________________________________ Works great – but not with Dell computers ___________________________________ Blackmagicdesign.com ___________________________________ ___________________________________ ___________________________________ Slide 38 Blackmagic Design Intensity Shuttle for Thunderbolt/USB 3.0 ___________________________________ ___________________________________ ___________________________________ • Great quality capture – large files to manage ___________________________________ Blackmagicdesign.com ___________________________________ ___________________________________ ___________________________________ Slide 39 Blackmagic Design UltraStudio Mini Recorder with MacBook Air ___________________________________ ___________________________________ ___________________________________ Here’s an interesting solution from ScopeBox, a software capture application that also offers various scopes for QC. It combines an 11” MacBook Air with Thunderbolt connectivity and a BMD MiniRecorder. Very high quality recording, plus quality control, under $1500! BIG FILES! Add Edit Ready! ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 40 ___________________________________ Matrox MX02 LE ___________________________________ ___________________________________ bhphoto.com • Comes in different versions. The more you spend, the more port choices you have ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 41 INOGENI HDMI/4K to USB 3.0 Converter • • • • • HDMI output using USB 3.0 computer port Windows, Mac, Linux Lightweight and very portable USB 2.0 not supported ~$400 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 42 HDMI / HD-SDI /FireWire Long GOP / Proxy Recorders • External digital video recorders – – – – HDMI, HD/SDI, FireWire, Analog AVCCHD, HDV capture, some SD capture H.264, HDV, DV, MPEG-2 capture formats P2, CF cards, SDHC cards, internal drives ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 43 HDMI / HD-SDI /FireWire Long GOP / Proxy Recorders • Datavideo DN-60, -600, -700; HDR-60, 70 • • Hauppauge HD PVR Rocket Matrox Monarch HD – DN series: SD/HDV; HDR series: HD/SDI – Stream and/or capture HD only – Multiple media supported – Feels like a little computer that is designed to capture / stream video • Panasonic AG-HMR10 • Vitec Multimedia FS-H200 Pro • Vitec Multimedia FS-H60/70 Proxy Recorders w/WiFi • Interesting balance of enough quality, compact file size – HD only – but can output a downconverted SD signal – Can add a date stamp to the captured media, which is very unique ___________________________________ ___________________________________ ___________________________________ – FireWire SD or HDV– if the camera has HDV – Nice progressive premium HD recording setting. – SD recording not really usable for legal video deliverables ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 44 Datavideo HDR-70 Rack-Mounted HD-SDI Recorder ___________________________________ ___________________________________ • • • • Uses proprietary 250/320/500 GB drives Easily record 35-70 hours per drive Robust design Records HD / SD ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 45 Hauppauge HD PVR Rocket • Encodes MPEG-2 TS files on laptop, MPEG-4 on USB Media • HDMI/Component/Composite/S-Video inputs • HDMI/USB outputs • USB-powered • Consumer Grade ___________________________________ ___________________________________ ___________________________________ – Designed for Video Gamers • $139.00 as of September, 2014 ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 46 Hauppauge HD PVR Rocket ___________________________________ ___________________________________ Pros: • Inexpensive • Wide Range of Inputs • Compact • User Friendly Software Interface Cons: • Consumer grade • No SDI or Firewire • One Button Operation • • – No Pause Mode Plastic Housing – ___________________________________ Durability/Reliability Non-standard framerates ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 47 Matrox Monarch HD ___________________________________ ___________________________________ ___________________________________ ___________________________________ Matrox.com ___________________________________ ___________________________________ ___________________________________ Slide 48 Panasonic AG-HMR10 ___________________________________ ___________________________________ • External recorder with datestamping capabilities. • HD-SDI HD input only • HD-SDI or HDMI output ___________________________________ ___________________________________ Panasonic.com ___________________________________ ___________________________________ ___________________________________ Slide 49 Vitec MultiMedia FS-H70 Proxy Recorder ___________________________________ ___________________________________ ___________________________________ ___________________________________ www.holdan.co.uk ___________________________________ ___________________________________ ___________________________________ Slide 50 Vitec MultiMedia FS-H200 Pro • Compact flash • HDV HD or AVI • FireWire only ___________________________________ ___________________________________ ___________________________________ ___________________________________ bhphotovideo.com ___________________________________ ___________________________________ ___________________________________ Slide 51 The Questions Bruce Always Asks • • • • ___________________________________ What camera are you using? What ports do you have available to you? What format are you capturing on your camera? What format spec gets pushed out when you capture that format? ___________________________________ • What recording devices can accept that format? • If you have your heart set on one and it doesn’t accept the format out of the ports you have available, are you willing to convert the format to another type (HDMI to HD-SDI)? ___________________________________ • If you’re connecting to a PC, is it properly optioned for this type of capture? Memory? OS? Port type? Disk speed and capacity? • Do you have software to process the captured format? ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 52 Dealing with Card Workflows • Expect using multiple cards for longer depositions – It’s typically a cost or quality issue, not a tech issue • Get all media loaded to one location in one way or another to be efficient in the post production process • Here are three ways to deal with this step: – Dump the files to a card storage unit – Stack card readers together – Copy files to computer-attached external drive ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 53 Card Backup/Storage Nexto DI ND2901 • If you use CF or SDHC/SDXC cards, consider Nexto DI ND2901 – Cost effective appliance that manages downloading of CF and SD cards in field. – USB 3.0 connectivity – Puts all data files on one device, making rapid transfer of assets easy and efficient – $399-499 for 500 GB – 1 TB – Other models available for most media cards ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 54 Lexar Professional Workflow HR1 Hub • Four-bay USB 3.0 Reader Hub with interchangeable reader design • Great for takes that span multiple cards • Process entire day’s job without switching cards • About $150 for base and 4 pods ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 55 Imagine Products Shotput Pro • Software manages offloading process, allowing for rapid, redundant, and verifiable copies to external drives • Windows or Mac versions • Feel comfortable reusing cards • Use internal / fast card readers – USB 3.0 / Thunderbolt • $99 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 56 Overview • Digital Video Cameras – Capture Formats – Understanding Camera output settings – Recommended Models • External Digital Video Recorders – Understanding Recorder input and recording settings – Recorders, SD / Proxy Recorders, and Encoders • Picking the Right System for you • Post Capture Workflow and Archiving ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 57 Picking the Right System • Match the camera and recording formats to your needs – Deposition work leans towards more compressed formats – Day in the life supports less compressed formats so edits and color correction are easier • Match the output formats and ports of the camera to the input formats and ports of your recorder. – Cables are a pipe – The output format has to match the input format for many of these systems to even recognize the signal. • Make sure your encoding system and computer can handle any format you decide to use ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 58 Picking the Right System • Don’t fall in love with a camera without falling in love with a recording system at the same time. – Without planning, you’ll either be buying converters and a new recorder or camera sooner than you want. • Make decisions on what you want to archive – Captured media or transcoded deliverable – You just can’t archive 4:2:2 cheaply – Big files are a great choice for a redundant source…you can throw them away after you know the deliverable is good. ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 59 Workflows in NLEs • Google “FORMAT workflow in NLE” ___________________________________ ___________________________________ • Workflow guides for several high-end cameras and formats in Premiere Pro and After Effects – http://adobe.ly/Np5Y9w • Final Cut Pro 7 Professional Formats and Workflows ___________________________________ – http://bit.ly/UMdRGD • HDV Workflow in Vegas – http://bit.ly/PcZ1Xu ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 60 Ingesting Original Digital Media • Many NLEs handle camera digital files differently than a tape file that has been digitized. – Terms like Log and Transfer, versus Import, are often used. – The files must remain in their captured folder structure in order for the NLE to ingest them properly. – Included in this “special handling required” structure • • • • P2/SxS AVCCHD/AVCHD/AVC-Intra Some digital video recorder files Some cameras have special stitching software to join split files • Software encoders – extract manually, understand issues ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 61 TMPGEnc Video Mastering Works 5.0 • Standard Definition Card Media Import • High Definition Card Media Import • DVD Import – All are slightly different – Do not copy just the video files. Always copy the entire contents of the card or DVD to a folder • Use the Source Wizard to import video • Avid DNxHD is not understood. ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 62 Archiving Original Media • Performing an archive of all camera-original material is highly recommended. • Copying individual clips via Windows Explorer or the Mac Finder, etc., may result in unusable media on the target drive. When archiving the contents of either memory cards or drives, always copy the entire contents of the volume, including all ancillary files. • Create a standardized root file with date, name, and card number (CD01, for example) and copy entire contents of media to root file ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 63 Archiving Original Media ___________________________________ • Single Disk – Store multiple versions on different drives • RAID – RAID2/5/6, including JBOD – RAID issues ___________________________________ • LTO (Linear Tape Open) – LTO-6 drive with LTO-5 (1.5 TB) media • LTO 6 Media now $80 for 2.5 TB – Looks like a drive on the file directory – $$$ drive ($3k), cheap media (<$50/1.5 TB) – LTO 6 / tapes are 2.5 TB uncompressed, 6.25 TB compressed ___________________________________ • The Cloud – Certain types of videos may become an issue with the Cloud and HIPAA rules. Secure sites preferable • You need to check the integrity of the files (once every two years). ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 64 Summary Review • Digital Video Cameras – Capture Formats – Understanding Camera output settings – Recommended Models • External Digital Video Recorders – Understanding Recorder input and recording settings – Recorders, SD / Proxy Recorders, and Encoders • Picking the Right System for you • Post Capture Workflow and Archiving ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Slide 65 ___________________________________ ___________________________________ Bruce Balmer, CLVS legalvideo@compuscripts.com Jason Levin, CLVS jason@virginiamediagroup.com ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________