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FCP5 post production workflow and DVCPro HD
Our upcoming production features footage shot on DVCPro and DVCPro HD. Being my first time using this format and HD, I am unsure of the workflow in post using FCP5. I’ve researched Andrew Balis’ post at Ken Stone but it doesn’t address certain issues such as online.
When capturing footage for offline, what is the suggested codec(s) when working with footage from both DVCPro and DVCPro HD sources? Is firewire the best way to capture?
During the edit, will both DVCPro and DVCPro HD footage live together in the same timeline?
Our current system is a G5 with a Kona2, is anything other hardware necessary other than a AJ HD1700 deck for capturing and laying back to tape?.
Other suggestions on workflow are appreciated.
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1 Reply
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When capturing footage for offline, what is the suggested codec(s) when working with footage from both DVCPro and DVCPro HD sources?
EITHER DOWNCONVERT THE HD or UPCONVERT THE DVCPRO. I WOuld upconvert and then cut. You could conform this way but only if you want to doa 10 bit uncompressed timeline. This is only a benifit if it is an FX intensive show. otherwise you are taking footage that is 8 bit with 5.5mbsec data rates to a 10 bit 165MBS data rate. There will be no more information by doing this. You are just preserving what is there. You also loose the use of FCP’s built in Frame rate converter once you capture anything but firewire. So you will have to deal with ny speed shots (varicam) seperately.Is firewire the best way to capture?
You, if you have the 1200A deck you can convert all of the DVCPRO to DVCPROHD ON THE FLYDuring the edit, will both DVCPro and DVCPro HD footage live together in the same timeline?
NO. FINAL CUT PRO DOES NOT SUPPORT THIS. Also, you would be mixing SD and HD resolutions.Our current system is a G5 with a Kona2, is anything other hardware necessary other than a AJ HD1700 deck for capturing and laying back to tape?
NOPE
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