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FCP / DVC PRO HD / Workflow
Hi All, I’m working on a show shot on mostly hdv tape (Z1Us etc) and our delivery specs say that DVC PRO HD tape is an acceptable delivery format. We’ve got 3 dual core G5s available and no raids (firewire 800 drives only). I’ve read many posts saying hdv to prores is the only way to go, but I don’t think we have the drive speed for this and I’m worried about no batch capture or recapture. If my end product is a DVC PRO HD Tape, can’t I digitize/edit/color correct and master out in the DVC PRO HD codec? My reasoning being – if we’re delivering in 1280 X 1080, why not keep it that way, with managable file sizes and renders, the whole way? We’ve got 2 cut bays and 1 final mix/color correct/master bay utilizing Kona 2 cards and hot swap FW 800 drives(1 1000gb for each show). Our end show is 29min+ with total raw footage per show of about 900 minutes. Without having the $$ for computer upgrades or raid space large enough to hold it all – does this seem like a logical workflow? Many thanks for you thoughts.
Kind Regards,
Chris K -
7 Replies
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Its totally doable using the Kona 2, however be aware that you are losing quality by recompressing your footage (originally compressed in camera as HDV) to DVCPRO-HD. Do some tests and see if you can live with the quality. Depending on the footage it may be an acceptable tradeoff for ease of workflow.
You cannot really work with ProRes on a dual processor G5…you can kinda make it work on a Quad, but really you should be on an Intel MacPro. So staying HDV or working in DVCPRO HD would be your best options given your equipment.
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Hey John, thanks for the reply. If my required delivery is DVC PRO HD, aren’t I always going to have recompression, either on import to DVC PRO HD codec or on mastering of an HDV native timeline to a DVC PRO HD tape? Thanks for your thoughts!
Kind Regards,
Chris K. -
DVCProHD is 4 times the file size of HDV so it is not a good idea to use it for your rushes. Staying HDV is the most bandwidth friendly.
I am using a dual 2.5 G5 and using HDV 1080 50i with the render set to ProRes. I have no problem running this on my hardware off a LaCie 1TB FW800 drive, outputing to HDCam via SDI (Decklink card)
Your final edit can be output via the Kona to a DVCProHD deck via SDI. I would see that as the easiest workflow with your hardware.
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Cristopher
we do that workflow all the time. HDV to either dvcpro hd or dvcpro 50.
we play out of the deck component analog, and capture using a kona LH
HDV is compact in terms of file size, BUT it does not seem to do as much in realtime, and it seems to take longer to render effects and such.
Plus, when its time to print to tape, even an HDV tape, there is this conforming process that takes quite some time.
Even though DVCPROHD takes up more drive space, its a more agile format to edit with, and it looks fine.
a 1 TB fw800 drive can easily handle the footage. you should be able to play it no problem, AND 900 minutes takes up 733 gB.
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Thanks to all for your insightful posts!
Kind Regards,
Chris K. -
[Christopher Kinsman] “I’ve read many posts saying hdv to prores is the only way to go, but I don’t think we have the drive speed for this “
HDV to DVCPro HD is a perfectly acceptable workflow for this. We do this all the time with HDV material because we honestly can’t see the difference between DVCPro HD and ProRes. The only time we use ProRes is on occasion when we render out of Color.
We delivered about 66 episodes of Good Eats to the Food Network in HD with a full DVCPro HD workflow.
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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Thanks Walter, you’ve confirmed that my brain can still make a few good deductions after all these years in front of those big CRTs.
Kind Regards,
Chris K.
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