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XDCAM HD422 to PRORES 422 or PRORES 422 (HQ)?
Dear people at CreativeCow,
I’ve learned a lot from reading posts on this forum for the last 2 years and want to thank you for that.
After reading a lot of threads and visiting other websites on this subject, I still haven’t found the answer to my question:
Should I render XDCAM HD422 to PRORES 422 or to PRORES 422 (HQ)?
The final export will be colorcorrected in Lustre (I think, could be Davinci) and is delivered as XDCAM HD422-1080i50 MXF for broadcast. No additional effects or graphics will be added.
Storage could be a problem if rendered to HQ, but quality > storage, I’ll find a solution.
Will we lose more “data” rendering to 422 than to 422 (HQ) or is rendering XDCAM HD422 to HQ like “putting a golfbal in a suitcase”?
Thanks in advance!
Willem
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5 Replies
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Willem,
If you can edit in the native format and just render your final output for CC, the storage can’t be the problem, so you could go HQ.If you don’t want to edit with the native stuff, mediamanage to an offline codec, edit, relink to the originals and do the transcode to HQ then.
(Test the ENTIRE process before, you might need to add a Reelname to the clips in order to link back to the originals in case of trouble)Or, just test on a few problematic (read, not well-lit) stuff, compare normal to HQ and see how it holds up on heavy luma lifting.
As always, just trust your eyes.
hth,
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
We’ve had a lot of XDCAM codec problems in the past. A lot of green flickers, beachballs and crashes every 30 min. For that reason, I’d like to render to PRORES.
I’d render to PRORES (422 or HQ) before the edit and export as a selfcontainted qt (422 or HQ) as well, thinking there wouldn’t be “any” loss in data.
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well, depending on your footage, you might or might not be able to see the difference between Prores and Prores HQ.
After that, you are right, there will be virtually no loss in the next encode.
But to choose, judge by testing, or indeed use the offline / online workflow.
How many hours are you talking about?
Storage is cheap nowadays…Bouke
https://www.videotoolshed.com/
smart tools for video pros -
documentary: 12 days, 3 cameras (SONY EX-3, F-3, PDW-700), most of them long days with long dialogues in car.
It’s kinda hard to predict the amount of footage, we have a 7.5 TB raid, which in the old days used to be enough, but nowadays….
We could always reconnect to the native codec, but I thought there wouldn’t be “any” loss going from xdcam hd/ex to prores 422.
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Willem,
Interesting workflow cutting in say prores proxy and then re-capturing the EDL from native into HQ. Have you done this before on longer format projects? I’ve been trying out different workflow for feature docs and this one definitely has some appeal – shorter encoding time/less chance of crashes using multi-core processing for HQ encoding being the biggest as hard drive space isn’t so much the issue anymore…
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