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editing HD or SD ?
hey guys
I am going to be working on a project that is shot in 1080 25p
I have a very short time to deliver the directors cut, and I was wondering what would be the best way to work to make the editing prosses as fast as possible, less renderingworking in HD or SD ? and how would that be done? by the capture card?
could you please advise me on the best way to work?
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9 Replies
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You don’t need to render for either SD or HD if you have the proper system.
What’s the format of the original material?
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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it is 1080 25p
we are going to be working with Raid hard drive
but the question is, that since we have lots of chromakey shots, and I’m gonna have to upload it to ho the client on the web to watch and approve
so is there a difference in time? -
[tel jaba] “it is 1080 25p “
DVCPro HD, AVC-I, HDV? What is it? And is it truly 25p as in 25 progressive frames or is it 1080i/25 as in interlaced 1080 25 frames per second? PAL HD is 1080i/25 as in interlaced video 25 frames per second normally.
[tel jaba] “we are going to be working with Raid hard drive “
What array? What format do you want to work in? DVCPro HD, ProRes, HDV, Uncompressed?
Saying a RAID hard drive doesn’t tell us much. The model and better, the speed of the array tells us much more.
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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sorry about the incomplete information
the media is shot on Sony EX3, it is XDCAM 1080 25p
and about the G Raid it is the G-SPEED eS ! -
Then just edit in the native XDCAM HD. That’s probably the fastest given the original format.
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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hello Walter. thanks for your help
so basically I can work in native format and that should be fine!
now, the finla output is going to be both HD and SD, so do you suggest that I work in XDCAM and only at the end to down convert to SD?
what about all the color correction work? the chroma key? will there be a problem when converting from HD to SD? will I have to do it separately on each format?where does ProRess 422 come in this process?
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Chroma keys are going to be a lot of work with that format. That’s a horrendous format for doing any chroma key work due to all the compression. We did one shoot with that format that needed one shot chroma keyed and it was a lot of work to get a decent key.
We edit / color grade in HD and then use our Kona to perform all downconversion in realtime during layback to tape.
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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[tel jaba] “do you suggest that I work in XDCAM and only at the end to down convert to SD? “
Correct. FYI, you can change the project settings so that any rendering is done in ProRes 422 instead of XDCAM EX, even though your sequence will still be XDCAM EX. ProRes will render faster and cause less lag.
As for chroma keying, are you doing your keying in FCP or in an external compositing application?
If you’re doing it in FCP:
First apply a 4:1:1 color smoothing filter to any greenscreen clips. XDCAM EX is actually 4:2:0, but it should still work. This will smooth the blocky edges of the U and V channels and help to make a better key.
If you’re exporting to another compositing application and you’re unsure what keyer will be used, try this:
Place a greenscreen clip in a 1920×1080 25p ProRes sequence and apply a 4:1:1 color smoothing filter. Render the sequence and export the clip as a new, self-contained clip. Do this for each of the greenscreen clips that you’ll need to composite. Depending on the particular compositing application being used, you may have better options for chroma smoothing, so this step may be redundant.
If the compositing is being done on a PC or on another Mac without FCP, make sure to install the ProRes codecs first.
Color grading is the final step. If you’re using Color, make sure you follow all of the workflow guidelines to the letter (no stills, speed changes, time-stretched clips, etc.). Choose ProRes as your project’s export codec, render, and send the finished project back to FCP. Export the final sequence from FCP (make it self-contained if you want to move the file to another system) and use the ProRes file as your master for all subsequent downconversions, whether for SD broadcast masters or web use.
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Tel,
if you go SD, you can edit directly in a Proress SD sequence.
For the Chroma filtering i use the Nattress. I think is the only 420 available for FC.
rafael
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