DVCProHD workflow suggestions for a feature

[Walter Biscardi]

[russpond] “2. Edit, and color correct using Final Touch HD and Color Finesse (in DVCProHD)”

Final Touch HD v.2.7 does not render DVCPro HD correctly. Final Touch HD v.2.6 and 2.7 do not work correctly with FCP 5.1.2. When you export an XML from Final Touch HD, FCP will not properly re-link all the media in the timeline. We ran into a situation with Final Touch where we had to manually replace every single shot in 8 episodes of a 30 minute show. Because of this we currently have removed Final Touch HD from our production workflow until we see what Apple is going to do with it in April.

We’re testing the new Colorista from Red Giant at the moment to see if that will be a suitable replacement for Final Touch.

[russpond] “I know this is pretty subjective, but I hear that color correction in DVCProHD codec is not very good, that it must be up rezed to 1080 before color correcting. But, that’s pretty expensive, and our budget is pretty low.”

Whoever told you that has no clue what they’re talking about, especially the bit about cross converting to 1080i, that makes absolutely no sense.

We’ve been doing the DVCPro HD workflow for over two years and in about three weeks we’ll deliver our 50th broadcast HD Master to a network. All shows have been cut and finished (including color correction) and mastered in DVCPro HD. We have used both Final Cut Pro and Final Touch HD for color correcting the shows. We started with FCP’s tools for about 25 episodes, then FT for 12 and now back to FCP.

All of our shows have passed Quality Control and the networks have commented on the outstanding quality of our work. We edit in both 720 and 1080i though all of our final deliverables are 1080i/60 or 1080i/50.

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Shane Ross]

You can read my blog. I post all about my experience working with the Varicam, HVX-200…color correcting and outputting to HDCAM for delivery to networks. I color correct in FCP using the 3-way color corrector using the DVCPRO HD codec, and output to HDCAM via the Kona 3.

Click on Underdog.

Shane

Littlefrog Post
http://www.lfhd.net

[Uli Plank]

Excuse me, Shane, but I think he’s talking about film-out, not broadcast. True?

Regards,

Uli

Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.

[Walter Biscardi]

[Uli Plank] “Excuse me, Shane, but I think he’s talking about film-out, not broadcast. True?”

Nope, he says he is going to master to D5.

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Russ Pond]

That’s correct–no plans for film out, unless we hit some big festival and someone offers theatrical, but then we’ll let them pay for finishing it on film. Our goal is direct to video, and D5 masters are pretty standard for distribution deliverables.

russ

[Uli Plank]

Then the suggested workflow is absolutely OK.

BTW, I’m currently playing around with Colorista too, and what I’ve seen until now is pretty good for the price. I’d like to see better handling of the power window, but that’s a problem Apple needs to fix. Already much better than needing two tracks and a separate mask.

Regards,

Uli

Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.