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Getting HDV footage to a happy place : ) :( !!!!
Hello,
I have never posted to Creative Cow before, but have sought it’s advice may times in the past. Great stuff!
OK, this is going to be a once and for all for me, and I would love some feedback.
My mission:
1) Shoot HDV on the Sony FX-1 (I’ll be using DVC tapes, though that shouldn’t matter)
2) Import a tapes worth of footage as ONE CLIP! I hear this is not possible using FCP and HDV with the FX-1. If everyone is certain about that, I can manage combining it all in one sequence manually. (best sequence settings so the following works best?)
3) Export the footage using Compressor as:
-1920×1080 (I want to get rid of this anamorphic crap)
-Square pixels
-Deinterlaced (using compressor setting ONLY…I have no $ for plugins)
-Typically I will export to either a TIFF image sequence of Apple intermediate codec (although AIC makes huge files, any better codecs for uncompressed files?The point here is to shoot some footage with the FX-1, and then make it hassle free for post/animation work. In particular I switch a lot between programs like CS 4 and Cinema 4d, combining still images and 3d and all sorts of cookoo stuff. I hate having to deal with anamorphic/interlacing/non square pixels when interfacing with other footage/programs that don’t deal with these parameters well.
I know that I will probably have to sacrifice some quality somewhere. That’s okay…a welcomed trade for the headaches caused conflicting footage.
THANK YOU SO MUCH FOR THE HELP! CREATIVE COW RULEZ!!!!!!
Sincerely,
Ben
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3 Replies
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I would say for all the trouble you are going thru to convert native HDV files to some codec, you are much better off digitizing the tapes via HD SDI into a Kona card to either Pro Rez or DVCProHD. In my opinion this is the least headache route and will still yield excellent results.
Are you kidding? A 60 minute HDV tape to a Tiff sequence? that would have to be a first. And it would be a folder with 110,000 images in it.
Unless your workflow is entirely HDV and you aren’t doing what you are doing (adding other graphic elements and compositing etc) then HDV always behaves best starting with the digitizing…..and right to an advanced compressed HD codec like Pro Res or DVCProHD.
Rich Rubasch
Tilt Media -
Yeah the Kona Card route definitely seems like the best, but as stated before I don’t have access to something like this. All I have to work with is the camera, my mac, and yalls.
What if I transcode the HDV in compressor to Pro Rez? I can also do the deinterlacing here too.
I understand the quality will probably get messed with a bit, but I don’t have a grand for a kona card.
Yeah sorry, no, not the whole tape to TIFF, just portions of it.
Thanks!
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Aight. I’m going to capture the HDV to ProRes 422 on capture from the FW camera…as FCP 6.0.2 and above allow.
I also want to get the footage to be 1920×1080 square pixels, as well as progressive with deinterlacing.
I plan on deinterlacing with RE:Vision’s Fieldskit.Should I deinterlace before I resize, or the other way around? Or at the same time? Intuition tells me to deinterlace first. How is this process ordered within an export in a program like Compressor?
I know it is typical for people to deinterlace when doing their final delivery exports, but I have to do fx work in Cinema 4d which does not support field orders.
Thanks in advance for all the help!
Ben
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