Basically:

1. Output sequence from FCP via EXPORT with Current Settings and DVD Studio Pro Markers to .MOV
2. Using COMPRESSOR with Blu-ray settings make .264 and .ac3
3. Using TOAST on the Video>Blu-Ray setting

PREPPING IN FCP

I used to do some of the final assembly in DVD Studio Pro.  But since it really only (directly) allows the building of standard DVDs, I’ve changed some of my procedures.  I realize that DVD Studio Pro allows for HD-DVD output, but I’ve never figured out a way to use the defunct format to make Blu-rays.  And honestly, this is an easier way to do it anyway.

Once I’ve completed my editing, a make a new sequence using the same settings as my editing format (i.e. Apple Pro-Res, etc.).  I use this sequence to build each track (not chapters) that is used on the disc.  In most cases, I’m building the entire disc complete with the exact timing I want.   I then place any compression markers I think are needed.  And I put in chapter markers with Titles, as these will flow through the entire process.

When everything is set, I use the FILE>EXPORT>QUICKTIME MOVIE command in final cut to output a “self-contained” .MOV at the “Current Setttings.”  It is important that “Include DVD Studio Pro Markers” is selected.  Otherwise, Compressor will not read the chapter markers (even though you may have selected ALL MARKERS).

I know it possible to output straight from Final Cut here to a Blu-ray format.  But because I may have mulitple outputs (DVD, Blu-Ray, YouTube, iPhone, etc.), I prefer to have a self-contained file of the rendered sequence at the resulation of the sequence settings.   So, I Export from FCP to a file and then use COMPRESSOR to encode.

COMPRESSOR

Once I have the final cut .MOV, I use Apple’s Compressor to make the various formats.  The defaults work pretty good.  If you want to do new HD on YouTube, you’ll have to tweak that preset…but otherwise, the defaults work well.

TOAST

After Compressor finishes, open Toast to VIDEO>BLU-RAY VIDEO.  If you leave the default file-names from compressor, you’ll need to manually match audio ac3 file to the .264 video file.  Otherwise, name the files the same, leaving their extension.  Is long as the files are in the same directory, you’ll only need to drag the video file into Toast – Toast will do the rest.

Next, name the disc (or leave defaulted to MY VIDEO).  Then select burn.  NOTE:  It is not necessary to select DVD for media when burning Blu-ray to standard DVD.

That’s it.  Got to love HD!

First, it seems to have a mind of its own, like spell check in MS Word And in similar fashion to spell check, while very helpful at times…while very frustrating in others.

And second, projects restored from previous versions are sometimes unusable. I do a lot of Sports, and projects saved in earlier versions of Media Manager often have vari-sped clips completely screwed. Sometimes to an unrepairable point.

So in an attempt to try and figure out why a relativity small project with 20 years of source footage wasn’t going to shrink in archiving, I discovered why.

NOTE:  While this is probably in the manual somewhere…here it is in case anyone else is experiencing the same issue..

RESOLUTION:

Media Manager will ignore the selection “Delete Unused Media from Clip” unless there is a Reel number on the clip.  Also note, that if you have clips in your timeline that are not “ENABLED,” then your output project will not reconnect properly.  It will likely give you an “unknown error” trying to reconnect.

I have been using my Sony HDR-SR12 camcorder for several years now (here is a link to that post). As much as I love this camcorder and storing straight to a hard drive, AVCHD footage presented some workflow challenges with my editing system – Final Cut Pro.  And since Sony’s archiving software is Windows only and I work on a MAC, archiving was no picnic either. But the solution I’m currently using is achieving good results for both, so I thought I would share my process for anyone else facing these issues.

In general encoding algorithmns are design to balance the need for real-time dataflow against file compression.  In AVCHD, the files are encoded to maximize files size and processing of a very narrow processing set.  Transcoding the footage for non-linear editing (i.e. Apple ProRes, etc.) offloads the need for processing by decompressing the files for fast retrieveal.  While this retains the quality, it significantly increases the file size (4-10 times).  So, my main objective was to develop a workflow that would offload footage from the cameras internal drive for permanent storage without quality loss or increasing the file size, while still allowing for easy loading of any footage into Final Cut projects for editing.

For workflow, I use Final Cut Pro’s “Log and Transfer” function (not “Log and Capture”) to transcode the files to my desired editing format.  The trick was to copy the data off the camera to a structure that Final Cut Pro would still read within the Log and Transfer function.  To do this, I used Retrospect to clone/copy the internal drive of the Sony Camera.  Using Restrospect I was also able to syncronize the the cameras drive with a folder stored on an external firewire drive.  This feature allowed me to just copy over files that had been added since the last compare.  It should be noted, I’m not making a backup of the drive…but a copy.  The AVCHD file structure must remain intact for this to work.

So, here is my workflow was my solution:

1. After a shoot, I mount the camera to the MAC via the built in USB connect function.
2. Run a Retrospect script that syncs the cameras drive to a matching folder/
3. Mount the matching folder in Final Cut’s LOG & TRANSFER
4. Transcode to ProRes422 and edit.

Once I’ve completed offloading the storage of the camera, I can reformat the Camera’s drive for the next shoot.  Archiving the camera’s footage can be done simply by any Data Backup routine.

Enter the HDR-SR series.  I won’t cover the specs – cause it’s been done…but this verson is a 120 Gig internal hard drive.  This new camera had everything I was intrested in except, a 20x optical zoom and HDV versus AVCHD.  The 20x just isn’t happening.  I believe due to the sensor size and format, it’s just too expensive to produce this – for now.   Nevertheless, the 12x smaller Carl Zeiss lense is very good.

Waiting for HDV was ignorance on my part.  I’m stunned how good AVCHD format looks.  My first playback straight out of the camera (not compressed to DVD), left me speechless.  And AVCHD’s storage capabaility is remarkable.  I’ve been using the camcorder for personal footage for nearly six months.  While I’ve downloaded everything, I’ve not erased anything from the camera’s internal hard drive.  And it still has nearly 10 hours of recording capacity left.  Seriously, this camera will pay for itself inside of two years through saved tape cost.  Given this, I think the AVCHD format is more than capable for consumer and semi-pro use.  It seems as though more and more apps are becoming compatible with it as well.  There is something about the concept of compression (and throwing away data) that offends the pro in me.   But AVCHD does a nice job.  Afterall MP3 sounds good at 190kbps and above.

If you have an Intel Mac, Final Cut Pro 6 can read the files straight off the camera.  It must convert to ProRes to edit.   You CAN use the motion picture browser that comes with it for maintaining the oringal files.  This is windows only – I run mine through a virtural Vista instance (Parallels Windows for the MAC).  This software allows for quick burn to DVD and the facial recognition feature. 

ONE-BUTTON DVD BURN
This is cool concept, but the conversion from AVCHD to DVD (which requires MPG2 format) is less than speedy.  Easy, yes!  Quick, no!  A typical DVD might take 1 to 2 hours to convert and burn.

FACIAL RECOGITION INDEXING
This feature was an unexpected suprise.  When this is turned on, the camera idenifies faces while shooting.  It then provides a list of faces as indexes for each clip.  While you are viewing it in browser mode, you can browse through faces, not just locations or dates.  At first glance, this seemed to be somewhat silly.  But it works well and is actually quite useful.

10 MEGA-PIXEL STILLS
Keep in mind, I love my Canon 40D.  Seriously, I love SLRs, high dollar lenses, and controlling depth of field.  I’m very excited about Canon’s new 5DmarkII - which shoots video in HD format.  With that said, having a quality camera built into a camcorder, is extremly convient and sound idea as well.  I would suspect for the non-discriminating photographer, this camera is more than enough. And even for the more discriminating, the ability to grab a still while shooting (even if the quality isn’t pro) is very cool…and inviting.

LOW LIGHT
Two steps forward, one step backward!  This might be Sony’s worst low-light performer in years.  It doesn’t get a failing grade here, just a low one.  Don’t expect to shoot stunning footage in a dimily lit room or outdoors at night.  It does have the “night vision” mode – but I’m referring to color shooting.

CONCLUSION
I would highly recommend this camcorder for personal use to anyone, even pros.  And given the smaller hard drive versions are farily cheap…the savings realized from not having to purchase blank tapes allows anyone to shoot in High Def for little expense.  Do it.  Seriously, explain to your wife how much savings you’ll realize, and do it!