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HDV workflow in FCP (Prores422, DVCAM?)
Hi everyone.
I am working on a project with Sony Z1 filming in 50i mode.I need to deliver this on the DVCAM-L tape (Blue one).
Should I capture all the footage in native HDV? Then encode it in Prores422 for edit? And then in the final stage convert it to a format (DVCAM-L) to go on DVCAM-L tape which I am guessing will only take DVCAM format files. If working in Prores which version should I go for?
I would also need to make DVD copies and versions for uploading on net, youtube vimeo etc.
For edit and grade will be using a Macbook Pro 2.6Ghz 4GB Ram, FCP. Would this be fast enough for the editing?
What would be the best workflow?
Any help would be much appreciated 🙂
Thanks. -
2 Replies
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[Sarmed Mirza] “Should I capture all the footage in native HDV? Then encode it in Prores422 for edit?”
No! There’s no reason to do that. You can capture HDV to ProRes on the fly (see the Cow tutorial by our fallen comrade Chris Poisson at:https://library.creativecow.net/articles/poisson_chris/hdv-prores.php. Or, you can capture native HDV and edit in an HDV sequence, but change the Compressor in Sequence>>Settings to ProRes 422. Believe it or not, it renders faster than HDV.
Yes, your computer is fast enough…
When outputting to DVCAM you have two choices: 1) cut and paste to a DV sequence and output via firewire; 2) down-convert using an I/O device or card and output direct to tape.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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HI David
Many thanks. I will try this.
Best regards,
Sarmed.
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