tiramisushi
New member
if i shoot in dv or hdv, how do i get it to a digibeta master? is that the best format? what output do festivals require?
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digibeta master
- Thread starter tiramisushi
- Start date
The easy way is to output a master to DV and pay someone to dub it for you. A slightly better way would be to do an uncompressed edit from the DV master and then output direct to Digibeta: that should look a little better if you're doing any significant color grading.
A lot of festivals seem to be able to project from DVD now though.
A lot of festivals seem to be able to project from DVD now though.
L
Lowell
Guest
dv to DB
dv to DB
you can take your DV project and output it via a Kona or BM card. By doing this you will up rez your project from 720x480 to 720x486. There are many more steps to create a great project, here are some of them.
Do the output with video and audio only.
Place your text and graphics in after you uprez to get the best quality
Color correct in this color space and not in DV 422 vs 411
For the most part this is an easy process. You can rent a deck provided you have a PCI card installed on your computer or go to a facility that has this type of system set up for you.
dv to DB
you can take your DV project and output it via a Kona or BM card. By doing this you will up rez your project from 720x480 to 720x486. There are many more steps to create a great project, here are some of them.
Do the output with video and audio only.
Place your text and graphics in after you uprez to get the best quality
Color correct in this color space and not in DV 422 vs 411
For the most part this is an easy process. You can rent a deck provided you have a PCI card installed on your computer or go to a facility that has this type of system set up for you.
Alessandro Machi
New member
In my opinion the most important step to take is creating a dv master that already meets festival specs, which usually includes zero black or 7.5 black for 30 seconds, color bars and tone for a minute followed by 30 seconds of identical black to what you laid before the color bars and tone, and then picture starts on time-code 1:00:00:00.
The audio levels of your movie should match closely to the zero tone reference you are laying down with the color bars, which for digital is somewhere between -24 to -12. (probably -16 is the safest bet) It's almost pointless however to put audio tone down on the color bars if it doesn't accurately reflect the audio levels of your movie.
Now you can take your mini-dv master EXACTLY AS IT IS and have it dubbed from serial digital to digital betacam as long as you have gone to a qualified duplicator how uses the expensive dv decks. Ask for everything to be matched identically as it is being dubbed, meaning color bars and tone, video levels AND time-code all are transferred to match the master you gave them. There should be no extra charge for this either. However, it is just as possible, and more likely, that your final edit master is not consistent all the way through and it might just be a waste of money to make the digital betacam copy too early in the process.
Once you do have a digital betacam master made, you may want to consider getting a betacam sp submaster made from the digital betacam. Betacam SP tapes are easier to view since more betacam sp's exist out there and since the betacam sp copy came directly from the digibeta copy it lets you know exactly how your digital betacam looks. It's much less expensive to have the betacam sp evaluated for problems than the digibeta master. If you discover any problems, then you might have to fix them on your time-line and repeat the entire process.
Some festivals show betacam sp and not digital betacam because betacam sp decks cost four times less than a digital betacam deck. I don't think there will be a noticeable difference between digi beta and betacam sp IF the original camera format was mini-dv.
The audio levels of your movie should match closely to the zero tone reference you are laying down with the color bars, which for digital is somewhere between -24 to -12. (probably -16 is the safest bet) It's almost pointless however to put audio tone down on the color bars if it doesn't accurately reflect the audio levels of your movie.
Now you can take your mini-dv master EXACTLY AS IT IS and have it dubbed from serial digital to digital betacam as long as you have gone to a qualified duplicator how uses the expensive dv decks. Ask for everything to be matched identically as it is being dubbed, meaning color bars and tone, video levels AND time-code all are transferred to match the master you gave them. There should be no extra charge for this either. However, it is just as possible, and more likely, that your final edit master is not consistent all the way through and it might just be a waste of money to make the digital betacam copy too early in the process.
Once you do have a digital betacam master made, you may want to consider getting a betacam sp submaster made from the digital betacam. Betacam SP tapes are easier to view since more betacam sp's exist out there and since the betacam sp copy came directly from the digibeta copy it lets you know exactly how your digital betacam looks. It's much less expensive to have the betacam sp evaluated for problems than the digibeta master. If you discover any problems, then you might have to fix them on your time-line and repeat the entire process.
Some festivals show betacam sp and not digital betacam because betacam sp decks cost four times less than a digital betacam deck. I don't think there will be a noticeable difference between digi beta and betacam sp IF the original camera format was mini-dv.
Transfer Questions
Transfer Questions
Hi,
This is my first time transfering between formats, so please bare with me - I have a few questions:
1. My film was shot on mini dv, cut in Final Cut Pro & burned to disk using Compressor & Studio Pro. Now, many festivals want either a Digital Betacam copy or one on Beta SP - what's the difference? Which is better/cheaper? What's the average cost?
2. What's the best way to make the transfer? From dvd or from mini dv?
3. My film is 86 minutes long so it would have to be divided between 2 mini dvs. Can I still get a seamless 86 minutes on the Digital Betacam/Beta SP?
I'm not technical, so if this can be explained in layman's terms, I'd appreciate it very much.
Thanks a million,
Billy
Transfer Questions
Hi,
This is my first time transfering between formats, so please bare with me - I have a few questions:
1. My film was shot on mini dv, cut in Final Cut Pro & burned to disk using Compressor & Studio Pro. Now, many festivals want either a Digital Betacam copy or one on Beta SP - what's the difference? Which is better/cheaper? What's the average cost?
2. What's the best way to make the transfer? From dvd or from mini dv?
3. My film is 86 minutes long so it would have to be divided between 2 mini dvs. Can I still get a seamless 86 minutes on the Digital Betacam/Beta SP?
I'm not technical, so if this can be explained in layman's terms, I'd appreciate it very much.
Thanks a million,
Billy
Alessandro Machi
New member
When you say you have copied to dvd, do you mean that all that you have is a dvd compressed master of your project? That is basically unnacceptable because DVD is an overly compressed format. It looks good, but it's still overly compressed.
Somehow you have to output an uncompressed, or less compressed master from your computer to videotape. While some may say just play back from the hard drive onto digital betacam, that could be a disaster waiting to happen if you are paying an hourly rate and have to keep restarting due to various problems.
I would suggest that the next most important step is to find out what is the highest quality output you can get from inside the computer to outside the computer in real time with no dropped frames. I'm going to assume it is mini-dv. You MUST monitor you audio levels with some type of led read out since that is usually the one control that you may be able to adjust before laying it to tape.
Find someone with a large dv deck so that you can at least lay down your entire project to tape without any stops or starts. If you can miraculously lay down the entire project onto a large dv tape size, then all you will need to do is a straight video "bump" to the format of choice.
Somehow you have to output an uncompressed, or less compressed master from your computer to videotape. While some may say just play back from the hard drive onto digital betacam, that could be a disaster waiting to happen if you are paying an hourly rate and have to keep restarting due to various problems.
I would suggest that the next most important step is to find out what is the highest quality output you can get from inside the computer to outside the computer in real time with no dropped frames. I'm going to assume it is mini-dv. You MUST monitor you audio levels with some type of led read out since that is usually the one control that you may be able to adjust before laying it to tape.
Find someone with a large dv deck so that you can at least lay down your entire project to tape without any stops or starts. If you can miraculously lay down the entire project onto a large dv tape size, then all you will need to do is a straight video "bump" to the format of choice.
I have the project in Final Cut Pro. I compressed it in Compressor & burned it to dvd in Studio Pro. That's what I've been sending out to festivals as previews. Now I want to get it onto a Beta SP and/or digital betacam. What I need to know is the best & easiest way of doing this.
Since my film is 86 minutes long, I'm concerned that if I export t omini disc that it'll have to be divided between two tapes. If I bring these two tapes to a conversion place, will they be able to present me with a seemless 86 minutes? Or is it best to just try to get it straight from my hard drive onto a bigger tape format?
Thanks again,
Billy
Since my film is 86 minutes long, I'm concerned that if I export t omini disc that it'll have to be divided between two tapes. If I bring these two tapes to a conversion place, will they be able to present me with a seemless 86 minutes? Or is it best to just try to get it straight from my hard drive onto a bigger tape format?
Thanks again,
Billy
Alessandro Machi
New member
mini dv can be put onto a larger tape than the small size cassette.
I'm suggesting that putting it to one tape from the get go is your best bet. Somebody you know knows somebody that has a bigger style dv deck that will take the larger dv tape format. Normally the larger tape format is used to record to DV-CAM, but if you find a lower cost/larger style dv deck such as a non sony brand, it may only record at mini-dv speed even on a larger dv cassette, but that is ok.
The biggest advantage you will get is continuous time-code and the possibility of being able to make a straight copy to digi-beta or betacam sp.
I'm suggesting that putting it to one tape from the get go is your best bet. Somebody you know knows somebody that has a bigger style dv deck that will take the larger dv tape format. Normally the larger tape format is used to record to DV-CAM, but if you find a lower cost/larger style dv deck such as a non sony brand, it may only record at mini-dv speed even on a larger dv cassette, but that is ok.
The biggest advantage you will get is continuous time-code and the possibility of being able to make a straight copy to digi-beta or betacam sp.
Re: one last question..
Re: one last question..
Quite likely, but check with the company you're taking it to first.
Re: one last question..
billy said:What about exporting the movie onto a portable firewire drive & then taking that to a conversion house - would that work?
Quite likely, but check with the company you're taking it to first.
Alessandro Machi
New member
Re: one last question..
Re: one last question..
I would be wary of going anywhere that must charge you an hourly rate when you are not sure it will work. You'd be better off renting a deck for a day (a full sive DV-CAM or mini-dv recorder deck) and making sure you can successfully achieve a layback. Make sure you have at least 3 full size dv tapes before trying this.
Re: one last question..
billy said:What about exporting the movie onto a portable firewire drive & then taking that to a conversion house - would that work?
I would be wary of going anywhere that must charge you an hourly rate when you are not sure it will work. You'd be better off renting a deck for a day (a full sive DV-CAM or mini-dv recorder deck) and making sure you can successfully achieve a layback. Make sure you have at least 3 full size dv tapes before trying this.
If you take a look at the Wikipedia link on DV, it shows there are large format DV tapes, called MiniDV"L" which can record 4.6 hours of footage.
No idea where you'd get a tape like this, or what kind of recording device you would need to use the tape, but this might be an option to get a seamless 86 minutes?
Also, a worst-case scenario would be to use the EP/LP mode of a regular miniDV tape which would give you 90 minutes of record time, but would have a drop in quality?
http://en.wikipedia.org/wiki/Dv#MiniDV
No idea where you'd get a tape like this, or what kind of recording device you would need to use the tape, but this might be an option to get a seamless 86 minutes?
Also, a worst-case scenario would be to use the EP/LP mode of a regular miniDV tape which would give you 90 minutes of record time, but would have a drop in quality?
http://en.wikipedia.org/wiki/Dv#MiniDV
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