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FCP6, ProRes Sequence, and Canopus ADVC 110
Hello
I’m about to color grade a project in FCP 6- (shot in 24P with Panasonic AG DVX 100B and reverse telecined with Cinema Tools. My native codec is DV NTSC. For color grading I’m going to be working in ProRes)
I’m going to be monitoring my work on a CRT broadcast monitor (JVC BM-H1310SU), and I’m looking for a via media between my Macbook Pro (17 inch 2.4 GHz Intel Core 2 Duo, with 2 GB 667 MHz DDR2 SDRAM). I cannot currently afford one of those Matrox or Kona type of capture devices, so I’m going with an S-Video connection.
I decided against using my DVX as the via-media since I wouldn’t want to spoil the camcorder through overheating.
The device I’m now looking at is the Grass Valley ADVC110 Bi-Directional Analog / Digital Converter.
Would it be as good/bad as using my DVX as a go-between for an S-Video connection to the CRT monitor? Would it be able to handle my ProRes sequence?Looking forward to your responses!
Maithili
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7 Replies
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Hi Maithili,
Yes the canopus will do exactly the same job, anyway you shouldn’t be afraid of using the camcorder for monitoring.
rafael -
It will not be able to handle the ProRes sequence. That converter only works with DV, as DV is monitorable via firewire. ProREs is not.
Does your computer have Thunderbolt?
Shane
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[Shane Ross] “That converter only works with DV, as DV is monitorable via firewire. ProREs is not.”
But having the “Video playback” set to FW, should work.
FC is able to do the transcoding Prores/DV on the fly.
rafael -
Yeah, it is. It just negates any benefit you have using ProRes as a sequence setting. YOu won’t see the full ProRes 422 color space…you’ll be grading to a DV 4:1:1 color space.
Shane
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Read my blog, Little Frog in High Def -
Thank you, Rafael and Shane. Your feedback has helped me a great deal.
My computer does not have Thunderbolt- the way I understand it, regardless of whether I use Canopus or my camcorder I would still be going out on Firewire, which means that I will not be able to take advantage of the 4:2:2 color space of ProRes given my current resources.
So then, if I would be as good as grading in 4:1:1, is there any other advantage to moving to ProRes either before or after color grading? I would like to make the most of what resources I do have.
(I apologize if this is a very basic question, I’m learning as I go along.)
Thank you for your time!
Maithili -
As Shane say, that’s a poor’s man Color correction, but better that than nothing. You will monitor in 411, but the rendering (which is that counts) will be done at 10b 422.
[Maithili Pradhan] “So then, if I would be as good as grading in 4:1:1, is there any other advantage to moving to ProRes either before or after color grading?”
Even if the footage is just DV, there is an advantage of going 10b. Every rendering will be better. Is important don’t recompress to DV.For many years that i’ve been working with DV stuff, I’ve been using the “Chroma smooth/sharpening” filter of Nattress. It works great reducing the blockiness of the DV footage and also controlling those saturated reds than in DV spreads all around the red objects.
The filter works on native DV footage and needs to be rendered in 422 (bettr 10b than 8b). I don’t know how would work once that you have the DV already converted to prores.
rafael -
Thank you, Rafael. This was exactly what I needed to know!
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