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Blackmagic-Centric DVCproHD Workflow Questions
Hi everyone, I’m new to posting here at Creative Cow, but not new to browsing. I’ve recently done my best to search through the Blackmagic archives for tidbits of info in relation to my question, but have come upon the need to post for myself. So, here goes the setup:
This winter I will be involved in the production – and more importantly post-production – of a small budget feature (~$100,000). We have been in constant struggle on the Format vs. Casting budget question, and have finally come upon the resolution that we should go for one fairly recognizable name attachment and work in the highest format available/feasible to us. We are used to shooting low-budget 30 minute shorts ($4,000 and less) on MiniDV, so the closest thing to retaining our comfortable workflow would be a flavor of HD; film is out entirely as an option.
After entertaining the thought of CineAltas, it is clear that while we may be able to afford the production costs, the post-production needs of offline transfers and the likes would be stifling at our budget point. This leads us to Panasonic
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3 Replies
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Someone can correct me if I’m wrong, but I believe the HVX-200a only has the tape transport for MiniDV to record Standard Definition. I think the only way to record HD is to the P2 memory cards. The way I figured it was you could get 9 minutes of DVCProHD 720p60 on one 8 GB card. Also, DVCProHD 720p60 runs at a data rate of ~14.4 MBytes/sec, ~4x the bandwith of DV25, but ~1/2 the bandwith of uncompressed 10-bit SD.
I would re-evaluate the use of this camera based on the limitations of the P2 cards and check out the Sony HVR-Z1U with Cineframe 3:2 pulldown in 1080i.
Sony Vegas and Final Cut both can edit HDV and the Blackmagic Decklink HD is able to display it to an LCD with the HDLink.
I would do some more checking on the HVX-200a and compare it to the HVR-Z1U that’s already available…
Matt Small
Pair of Hands
Sherman Oaks, CA“If it was easy, everyone would do it.”
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Hey Matthew, Thanks for your response!
You are correct that the HVX200a records DVCproHD to P2 cards only, but it does so in true all-out 1080p glory, unlike the stitled pseudo-24p mess that i hear the Sony HVR-Z1U puts out (it’s really 1080i). The Sony is an interlace based camera, it’s chips aren’t designed to output true progressive, which is not the case with the HVX.
The HVX200a is by far the most cost effective choice for high quality HD resolution aquisition in true 24 frames per second without going for JVC’s new proHDV formatted HD100 (which hits a cieling at 720p anyway).
While the production workflow is definitely a concern, it’s nothing too complex. Much like shooting with reloadable film-mags, we would unload one of two 8gb P2 cards after each setup or two to a laptop or portable HDD solution and slide it back in for rolling at the next setup. This portion of the workflow is different than our normal video-tape mindset of roll, keep rolling, roll some more… but does not throw too large of a wrench in the works to discount the superior specs of the HVX to a Z1U or a HD100.
I realize the HVX is merely vaporware right now, and there have yet to be footage image samples released, where there are extensive reviews of the Z1U…maybe it is far too wishful thinking of me that the camera will be out in time, but hey…I can dream!
My main concern is a cost-effective postpro support structure for DVCproHD, as I will be editing the piece and doing whatever small effects work will be necessary for it. Anyone else have recommendations for the post-workflow, or possibly some sample DVCproHD 1080p footage that I could test in some computers?
Thanks,
Spencer Houckcheck out our shorts online at par-t-com.net
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Spencer,
You would be wise to consider the HVX200 vaporware and not plan on using it for a production that starts in November. We are really interested in the JVC HD100, but that one is also vaporware at this time. Although I have played with one of those at NAB, the HVX200 was just a mock-up at NAB.
I have shot three features with the Sony HDR-FX1. One Horror, one Action Movie, and one Comedy. The 24P mode is a waste of time. We shot two of them with the 30P mode and really like that. The Action movie we shot in 60i and though we haven’t finished it, 3:2 pull-down looks really nice. We would have shot in 25P but we started our production before the European version was released.
Now for post, we use FCP with Decklink and Multibridge, because it seems like the best solution for the money to us. As far as I know there aren’t any PC based edit systems that support the DVCProHD codec. I think high end Avid systems might, but it is out of our budget to consider. There must be similar codecs on the PC.
A good choice for you might be to use Premiere Pro to edit and then finish in After Effects. This is basically what we do. Edit everything in FCP, then use Automatic Duck to send the project to After Effects for VFX and color correction using Color Finesse and we do our final render from After Effects in 16bit. The biggest problem with most NLEs is they only render in 8bit and when you start doing color correction and more advanced effects it shows. We organize everything in FCP with nested timelines and break the projects down into roughly 10 minute reels.
Good luck and have fun.
Mahalo,
DustyDual 2.5Ghz G5 w/ 2.5GB ram, Decklink HD, Decklink Multibridge, MOTU 896HD
JVC DV5000, 2 Sony HDR-FX1, JVC BR-DV3000U, JVC 19″ HD monitor
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