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Digitizing HDV via Firewire using Apple Pro Res 422
I’m still figuring this out, so bare with me. I have fourteen tapes with 30-40 minutes of footage on each that was shot in HDV. Obviously, I’m trying to find the best work flow, and was hoping to take advantage of the new Apple Pro Res 422 codec. Especially since you can dig via FW using the HDV-Apple Pro Res 422 set up. (FCP 6.0.2)
So far, I’ve successfully loaded six sessions. Just one major problem though. The Apple Pro Res Codec files are huge and run about 1GB per minute. So, my current HD space is not going to allow me to have the entire project at one time.
Can anyone suggest a better work flow?
Is there a way to change the Apple Pro Res codec so that it scales the image to 1280×720 or even 960×540?My system is a G5 Dual 2.7 with a 1TB eSATA array
The Visual Rabbi
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6 Replies
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If the file size is a bother just digitze as native HDV at 13gb per hour. Pro Res is either gonna be about 1gb per minute nomal Pro Res or 1.5gb per minute HQ. Keep in mind, its a full raster, I-frame, 10-bit codec.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY™
A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.
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This project will be mastered to SD DVD. What’s the best option to get from HDV to SD?
Secondly, I’m having trouble diging HDV using my Canon XL H1. Is there an issue with FCP 6.0.2? I was able to dig one tape, but can’t get anything else to dig. I keep getting “can’t find timecode” error.
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Native HDV and Pro Res are both gonna be great when creating a DVD. Pro Res, while larger in file size, has the benfits I mentioned above, 10-bit color depth, I-frame (not long GOP MPEG) editing, and full raster (no scaling), so its less processor and render intensive during editing, and graphics will not take a substancial hit when rendered.
Sorry, I don’t know about the timecode issue with your camera.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY™
A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.
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Brian,
I have an A1, and until last week before trying the ProRes deal (which BTW works fantastic) I always captured native HDV via FW. FCP is persnickity about it, the camera must be set to HDV playback standard, and you must plug it in and turn it on before you launch the log and capture, but it should work then, and you should get all your time code.
You can put your native HDV into a ProRes or 8 bit timeline, render and go. Works great for SD.
Have a wonderful day.
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Another option that you can do is capture as native HDV and then change your render settings to ProRes. This way anything that you render is done in ProRes instead of in HDV.
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[zrb123] “Another option that you can do is capture as native HDV and then change your render settings to ProRes.”
Definitely what I’d plump for. Capture and edit native HDV. Dump your final sequence in to a prores timeline (or uncompressed SD, 10-bit) and render. Output a quicktime (NOT via QT conversion!) for Compressor to encode. It’ll look lovely. I do it all the time.
J
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Then when you do criticise him, you’ll be a mile away. And have his shoes.*the artist formally known as Jaymags*
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