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HDV editing in Final Cut Studio 2
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[Winston A. Cely] ”
I must have misunderstood in my reading, but your saying that you could actually finish and broadcast Pro Res?”That’s how Apple is promoting it. Until we can actually get some tests done and run it through Network QC, we can’t confirm that, but that is the workflow Apple is promoting. We’ll be testing it here as soon as we get it.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html
Read my blog! https://blogs.creativecow.net/WalterBiscardi
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That, is crazy cool! Can’t wait to hear your review!
Winston A. Cely
Editor/Owner | Della St. Media, LLC“If God could do the tricks we can do, He’d be a happy Man.” – Peter O’Toole – “The Stuntman”
Mac Pro 3GHz Dual-Core Intel Xeon
4 GB RAM | Final Cut Studio 5.1.4 | Aja Kona LHe -
Walter how is converting hdv to dvcprohd compared to converting to AIC? thanks.
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[joslyn20] “Walter how is converting hdv to dvcprohd compared to converting to AIC? thanks.”
Much cleaner than AIC.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html
Read my blog! https://blogs.creativecow.net/WalterBiscardi
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Walter
With a G5 QUAD and FCS 2 it`ll be possible to capture HDV from a SONY Z1 and convert to Pro Res 422 via firewire ?
Txs
BABALOTTI PRODUCTIONS
SYDNEY -
[Antonio Atzei] “Walter
With a G5 QUAD and FCS 2 it`ll be possible to capture HDV from a SONY Z1 and convert to Pro Res 422 via firewire ?”
No system will be able to convert anything to ProRes 422 without a capture card. FCP does not offer this feature via Firewire. The AJA Kona series and Io series will be able to facilitate the conversion so long as your system is fast enough to allow it, and yes the G5 Quad is plenty fast enough.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html
Read my blog! https://blogs.creativecow.net/WalterBiscardi
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But do you need the capture card only to convert to ProRes 422 on the fly during capture? Can you import the HDV via firewire, then convert to ProRes?
I know that getting the I/O HD around here will be a stretch. It takes all the fun out of transcoding on the fly during capture, but I’m guessing it will still speed up the workflow by avoiding the long-GOP I-frame renders of HDV. Am I correct in this assumption?
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The Io HD will releave all of the heavy lifting of compressing to Pro Res from your CPU, so it could be used with any qualified FCP 6 computer… That said, the capture cards will do it as well, however it remains to be seen I think just how much CPU you’ll need to make this happen…
The Io HD though is portable, and will allow you to capture on set… It also releaves the CPU from decompression for viewing externally too BTW… so in theory you’d get more RT effects… Pro res is extremely freindly with RT Extreme technology too. Would get not only faster renders than HDV, but probably more RT effects to boot… You will not be able to transcode to pro res on the fly via firewire 400… i.e. HDV coming in that way would have to be transcoded in software after capture. Not as clean as a hardware transcode either…
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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Yes indeed, you could capture HDV native then transcode to Pro Res in Compressor… however. This means a double duty, double media files, and I’ll bet that a hard ware compression will be better than a software compression…
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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Reading in the manuals as I prep for a new project, there are three workflows, the first is the best of them:
Capture and work in native HDV (how final cut pro is designed to be used) and do all effects work in pro res 422 including color correction etc. Basically any effect you do will automatically boot you to pro res 422 UNLESS
You choose to keep footage in native HDV when you apply effects (not a wise choice as it chews up processor time and it is likely that you’ll get better results with pro res 422 as it should hold up better for effects) However, if you are going right back out to HDV tape, then this option is a good choice.
The other option is to capture in the Apple Intermediate Codec and all work (including effects) is done in this codec, but file sizes are HUGE. But this is much less processor intensive — so if you have an older machine with lots of hard drive space, probably the way to go.
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