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HD and SD combined
I’ve edited a show in HD using the XDCamEX codec and now more material is coming to me; theyre SD files shot anamorphically on Digibeta. It’s a 3 camera shoot that I have to switch and then incorporate into the XDCam sequence. What would be your workflow? Switch the SD footage in then media manage the footage to be “uprezed” into the HD sequence? Can I just drop it into my HD timeline and switch it? What’s the best way to get that SD footage into my show and minimize the render potential but maintain the SD footage quality? Thanks.
Geek/Nerd
Mac Pro 2.26 GHz Quad-Core Intel Xeon
16 GB RAM, 3Gig internal Raid -
3 Replies
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First, what type of video I/O card are you using to capture the Digibeta???
This is important, because you might be far better off up-rezing at capture if you have the proper card.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.
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The footage was already captured by another house and the drive was sent to me so whatever they did, I have. I know they did not upconvert the footage upon ingest so it exists as SD. I do not have a video card (yet). Knowing this scenario, what would you suggest? I could edit all the digibeta material in clusters then get it into HD but the question remains; by what method? Compressor? Media Manager? By timeline resize/render? Thanks.
Geek/Nerd
Mac Pro 2.26 GHz Quad-Core Intel Xeon
16 GB RAM, 3Gig internal Raid -
I would certainly cut the SD material on a matching SD anamorphic timeline first. That’s a given.
Next, copy one SD clip to your HD timeline and scale it up to full frame and render. That’s going to tell you what the material will look like when FCP does the scaling. You need to decide if that’s good enough — otherwise, you have two other alternatives:
1) take export the cut SD and take it to a facility with either a Teranex (best) or a Kona 3 (second best).
2) perform a test, up-rez a clip to ProRes at 1920×1080 via Compressor — make sure to turn Frame Controls on, with the better setting checked.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.
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