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DVCPro-HD to Apple Pro Res 422 HQ
This month’s American Cinematographer has an article in the Post Focus section about a movie edited in DVCPro-HD, but for the color correction in Apple Color, the media was converted to Apple Pro Res 422 HQ 10-bit. The colorist, Aaron, from Hollywood-Q recommended it.
I have a movie edited in DVCPro-HD nearly ready for color correction in Apple Color, and I want to convert it to Apple Pro Res. So now what?!
I figured Media Manager is the proper tool, but before I hit the buttons, I thought I should solicit some expert advice from the Cow (am also reading the manual).
Thanks!
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21 Replies
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What’s your source material? Tape or p2?
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From FCP.
Open your Sequence
File > Send to Color
Set Color to Render out to ProRes (I don’t recommend HQ)
Color grade your project and render.
File > Send to Final Cut Pro.
You now have a ProRes finished timeline.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
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The conversion to ProRes is normally done when Color does its rendering not before doing to it.
The reason, Color is working in higher bit depths so rending to 10-bit ProRes retains smooth results of your grading vs going back to an 8-bit that is in DVCProHD. So send to Color as is (properly preped for Color of course) then set the Output render to ProRes.
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is it transcoding to HQ you don’t recommend?
I just did some pretty heavy color correction on a 1080P
ProRes HQ (original from RED footage) and it turned out
really great under highly scrutinized visual checking. -
[Chris Borjis] “is it transcoding to HQ you don’t recommend? “
Capture, Render, Transcode. Too many artifacting issues and you would see it. green blocks appear on the shots for no reason.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
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[Chris Borjis] “is it transcoding to HQ you don’t recommend”
As Gary Adcock’s article points out, transcoding from native tapeless/digital formats (not tape) is only beneficial when transcoding from sources that have 10 bit or higher but depths (Red being one of them). If you are transcoding anything from a tapeless source that is native 8 bit (DVCPro HD based P2 being one of them) then SQ is just fine. HQ can cause errors as it’s the way the 8 bits get handled in 10 bit space. SQ simply rounds, HQ attempts to stretch the 8 bit to 10 bit and can cause some issues.
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[Chris Borjis] “is it transcoding to HQ you don’t recommend?
I just did some pretty heavy color correction on a 1080P
ProRes HQ (original from RED footage)”Apples and Oranges- dude.
DVCPRO/HD is 8bit
RED is captured at 12 bit.there is No Need to Convert any 8 bit codec to ProResHQ – there is not any quality difference for the vast majority of users- and the performance hit difference between the 2 codecs is astronomical.
gary adcock
Studio37
HD & Film Consultation
Post and Production WorkflowsInside look at the IoHD
https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php -
Thanks!
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p2
720p/60 -
Oh…and I was very careful with light.
https://forums.creativecow.net/readpost/47/856727
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