HDV Conundrum

[Shane Ross]

Output to what format of tape? Output back to HDV, just PRINT TO VIDEO. Output to any other format? Get an HD capture card and output. Outputting is easy if you have that.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Dave Richmond]

Thanks Shane, I’m now mixing the HDV with other formats and laying off to HDCAM SR. I’ve found that in past projects conforming HDV (with it’s GOP frame Structure) can take hours. I’m just going have to include that as part of the process.

Thanks,

Dave
daverichmond.com
888 207 6901

[Shane Ross]

[Dave Richmond] “I’m now mixing the HDV with other formats”

Whoa…wait. You didn’t say this. Why didn’t you mention this? This is pretty important.

Drop everything into a PRO RES (not HQ) timeline. That way you are not converting the “other footage” to HDV’s GOP ugliness.

What other formats are we talking about here?

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Dave Richmond]

Pro Res 422 (non HQ) has usually been my go to format. They were shooting follow up interviews on a 900 varicam but I talked them into keeping it all HDV just now. The only ugliness I have to worry about now is some ACVHD pet producer footage that (I’ve used Voltaic before) I’ve not found a great way to import. I’ve found that if I ship slo mo clips to motion as animation and export them as HDV 1080i60 the smooth out pretty well. This is a hassle and a half but worth the trouble.

Dave
daverichmond.com
888 207 6901

[Andrew Kimery]

Dave,

The only reason you’ll ever need to ‘conform’ the HDV is if you are going back out to HDV. Why not just use the option to render in ProRes or use the MM to transcode everything into ProRes?

-A

3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1)

[Michael Gissing]

80% of my work is grading and onlining HDV docos, going out to HDCam and digi beta. Most projects are ingested, edited and handed to me as HDV.

I always set the render to ProRes and playout to tape (using a Decklink in my case). Calling an HDV workflow ‘satans codec’ is an inaccurate bias and reminds me of the cries of horror when DV codec and firewire capture first appeared. We all got over it so lets do the same with HDV and recognise that it has meant lower budget projects have been able to make the jump to HD with some great results.

Last year, two of the four nominees for best cinematography in the AFI awards (Australia)were shot and post produced in HDV on FCP systems. The winner was the one I graded and I can tell you that with pre production planning and a positive attitude, great results can be had with this codec and workflow.

[Dave Richmond]

Thank you for your posts. I have great hopes for this project as well and those involved are very happy with the results so far. I’ve had trouble in the past with this format and was merely looking for help. I did not mean to offend anyone by lighthearted codec bashing. Forgive me.

Dave
daverichmond.com
888 207 6901

[Michael Gissing]

[Dave Richmond] “I did not mean to offend anyone by lighthearted codec bashing. Forgive me.”

Forums are often difficult places to convey light hearted remarks. As a lot of young program makers and editors look to the Cow for sage advice, we have a responsibility to make sure clear and accurate information is out there.

Nothing personal Dave, but I felt it necessary to reinforce the positives about HDV but certainly encourage them to plan and involve post people in pre production. All workflows have quirks.

[Jason Brown]

I personally liked the, “…putting Satan’s codec out to tape.” comment! It made me laugh…I’m working with a Canon XL-H1 and it looks great but is a b*tch to work with…for my uses anyway. Could be my naivety of the format though!

-Jason

[Dave Richmond]

That was the intended response. I’m learning some good work-arounds and tips so thank you, Jason.

Dave
daverichmond.com
888 207 6901