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HDV and ProRes workflow…not over firewire
Hey everyone,
I’ve been working with HDV lately, and going down the ProRes route as a capture codec…However as my next HDV project is coming up i’ve been running some tests and am after second/third opinions etc
Project details;
Multicamera event, utilizing Sony HVR-Z1P (I’m in australia…)
i’ll be shooting HDV 1080i/50
previously i’ve used the HDV capturing method described on CC over firewire…i’m not entirely a big fan of this method, not only because you can’t logged then batch capture etc
but mainly as i’ve found out, it captures HDV footage as 1440 by 1080i ProRes 422, had a few rendering issues with this because of sequence settings and so on.So my questions is, other than my own time and effort can anyone see any issues/problems with my proposed workflow:
1) Shoot HDV 1080i/50
2) Log & Capture as HDV
3) Batch export through compressor as Apple ProRes 422 for Interlaced material then inside the frame controls changing the output fields to Progressive
4) import all footage into FCP then edit away…basically, i don’t have a choice whether i shoot with HDV, and i just want to get out of the HDV format as soon as possible and out of interlaced and straight into progressive. as for not capturing over firewire, i figure why change into a non-full raster version of a great codec as well as making FCP upscale etc, when i can just as easily transcode to full raster ProRes.
Specifically on workflow point 3) is this the right setting to apply to my 1080i/50 footage? and hen of course changing to progressive in frame controls…would it not do the same thing if i applied the Apple ProRes 422 for Progressive material setting??
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5 Replies
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“because you can’t logged then batch capture”
You can’t? Really?
“it captures HDV footage as 1440 by 1080i ProRes 422”
HDV 1080 is 1440. That’s the specification for compression.
“3) Batch export through compressor as Apple ProRes 422 for Interlaced material then inside the frame controls changing the output fields to Progressive ”
What’s the point of this? The material is interlaced. You might as well edited as interlaced.
If you’re going to be doing multicam, you’d better have drives or a computer fast enough to support multiple streams of media. I don’t know what you computer and setup is, but FireWire drives can’t do ProRes multicam. You could capture in ProRes Proxy and be able to do it, but then you’d probably want to media manage, male offline, and recapture at full ProRes.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP6,” “Basic Training for FCS2” and “Final Cut Express Made Easy”
Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 4 Editing Workshop” -
[Andrew Karczewski] “So my questions is, other than my own time and effort can anyone see any issues/problems with my proposed workflow:
1) Shoot HDV 1080i/50
2) Log & Capture as HDV
3) Batch export through compressor as Apple ProRes 422 for Interlaced material then inside the frame controls changing the output fields to Progressive
4) import all footage into FCP then edit away “1 – changing interlaced to Progressive makes no sense here. Your footage is 1080i so edit in 1080i.
2 – If you have the time to wait for Compressor to render through all this footage, then have at it. My suggestion is pick up an AJA Kona LHi and do the conversion in realtime while you capture. This is what we do. Control the deck via Firewire, capture through the component outputs of the deck straight into our system.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
Credits include multiple Emmy, Telly, Aurora and Peabody Awards.
Owner, Biscardi Creative Media featuring HD Post
Biscardi Creative MediaCreative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital. -
Hi Andrew
I did exactly this workflow, (without the progressive step) on a huge multicam project which mixed HDV and HDCAM. It worked fine.
There is a cheeky workaround you could use however…
Go to Easy Set-Up in FCP and select the ProRes filter but leave the frame rate unselected.
In amongst these ProRes settings you will see one called HDV to ProRes24pChoose this setting – I know 24p sounds odd but try it. This setting will allow you to capture HDV to ProRes in realtime without any capture card and with the frame rate of the rushes. The only disadvantage is that you will not have deck control but it is a small price to pay. As always, name your footage first.
Pretty cool huh?
Cheers
Alexhttps://www.tantrictourists.com
Alex Snelling
http://www.slackalicefilms.com
https://web.me.com/slackalicefilms/ -
“Control the deck via Firewire, capture through the component outputs of the deck straight into our system.”
I usually capture using the HDMI out of my Z5u to ProRes. What are the benefits of using component and firewire? Is it deck control? Also, how are you capturing audio?
Mike
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https://www.youtube.com/watch?v=Oj0JoFxoOyo
Pro Res? I would like to think that FCP can edit native HDV clips. Premiere Pro can do it with ease. The files stay small because there is no transcoding to an intermediate codec. Should files become large on the PC side storage is a non issue.
https://www.youtube.com/watch?v=c3faYro5MjQ
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