Editing a feature shot on XH A1… Huge Question here????

[David Roth weiss]

[tony ladesich] “The problem is that I have gotten the impression that if I had digitized footage using an HD capture card I might be seeing better looking footage.”

Nope!!! Firewire capture is HDV native, just wrapping it in a QT. There’s no loss when capturing via firewire.

[tony ladesich] “Everything is lit well and shot well� yet, now that I am looking the footage from FCP it looks like there is so much compression that there is a wired grain all over almost every shot.”

How are you monitoring? If the answer is that you’re simply monitoring “the canvas” on your computer monitor, that’s your problem. FCP is optimized to playback in realtime via the canvas, not to show the video at optimal quality. You can change the RT settings to drop the frame rate and to display full quality, but more importantly, you need to monitor via a video monitor, not a computer monitor to truly judge trhe quality of your video.

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY â„¢

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.

[Tony Ladesich]

David,
thanks for your response. i am as of this moment viewing footage on my 30 in cinema display… or watching a raw output to my second monitor a 20 in cinema display…
so once i get the HD extreme card i will be viewing on a more proper monitor.

i have been reading alot about the Apple pro res codec…

i have really been bummed out by how the HDV reacts to color correction. would working in ProRes clear that up? or am i trying to expect too much from an inferior format (HDV)?

tony

this interview is over

[Warren Eig]

Actually, I’ve captured and converted HDV shot with the Canon XL-H1 to ProRes HQ on the fly. One of the advantages is it is now frame based and 10 bit. The 10 Bit won’t change your footage, but any color correction, transitions or graphics will be rendered in 10 Bit.

If you stay in HDV, yes you stay native, but you have to re-compress frames (it’s a GOP codec) before you output to tape, export to QT movie, etc.

Warren

Warren Eig
O 310-470-0905

email: warren@babyboompictures.com
website: https://www.babyboompictures.com

https://www.atomfilms.com/af/content/knitwits
https://www.atomfilms.com/film/family_xmas.jsp

EDITING REEL: https://www.babyboompictures.com/Editing_Reel.html
TITLE DESIGN: https://www.babyboompictures.com/Titles_Reel.html

[David Roth weiss]

Tony,

Since you’ve already captured you stuff as native HDV, the preferred workflow is to simply edit the HDV as is, then when you’re done, switch the QT compressor settings in the Sequence Settings to Pro Res, then color correct.

Persoanlly, I prefer to capture as Pro Res, but if you’ve already captured everything it’s not really a big deal to edit native HDV. Some people swear by it.

David

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.