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Activity Forums Apple Final Cut Pro Legacy HDV into ProRes 422?

  • Steve Mitchell

    May 8, 2007 at 12:50 pm

    Graeme, thank you! Would there be any performance advantage to capture HDV with ProRes 422, and could that only be done through a card?

  • Graeme Nattress

    May 8, 2007 at 1:08 pm

    You don’t need any cards to work with ProRes. Workflow might dictate that you want one, but it’s not necessary.

    Graeme

    http://www.nattress.com – Film Effects and Standards Conversion for FCP

  • Walter Biscardi

    May 8, 2007 at 1:13 pm

    [Graeme Nattress]
    You don’t need any cards to work with ProRes. Workflow might dictate that you want one, but it’s not necessary.”

    How would you output to tape then? Let’s say you’re working with HDV in a ProRes timeline, but then you output directly back to HDV. Wouldn’t you just cancel out all the gains you made using the ProRes codec?

    I’m not sure you could output to a Panasonic DVCPro HD deck with the ProRes codec, so I’m thinking to work in the Apple ProRes 422 you’re definitely going to want an HD-SDI capable video card to output the final product. does that sound right?

    Walter Biscardi, Jr.
    https://www.biscardicreative.com
    HD Editorial & Animation for Food Network’s “Good Eats”
    HD Editorial for “Assignment Earth”

    Read my blog! https://blogs.creativecow.net/WalterBiscardi

  • Graeme Nattress

    May 8, 2007 at 1:15 pm

    Well, unless you’re capturing from an HDV camera out the HDMI, SDI or component output live to a laptop with the IOHD, say, I don’t see any benefit trying to transcode in post.

    Graeme

    http://www.nattress.com – Film Effects and Standards Conversion for FCP

  • Graeme Nattress

    May 8, 2007 at 1:17 pm

    But the other major use for ProRes is that it’s a “common” timeline codec of high quality. Take native HDV, DVCproHD, HDCAM, uncompressed, graphics etc. etc. all from their own native sources, and without transcoding put on the “common” ProRes timeline. You don’t have to worry about different raster sizes etc. as it’s full raster and won’t diminish the quality of your graphics. It’s 10bit so an colour correction renders will be at full quality. And the end result file is small enough to stick on a FW drive and take somewhere else for HD-SDI mastering output. To me, that’s what ProRes is about. Being able to capture to it is just icing on the cake.

    Graeme

    http://www.nattress.com – Film Effects and Standards Conversion for FCP

  • Graeme Nattress

    May 8, 2007 at 1:20 pm

    If you’re editing HDV to go back to HDV then you’d use an HDV timeline as normal. But HDV is in no way shape or form a valid mastering format. Similarly, if you’re going back to DVCProHD tape, not much point your timeline being anything else.

    But, if you don’t know what you’re mastering to, or it’s HDCAM SR or D5, or you just want a high quality file on disc of reasonable size. ProRes would be superb. Just stick it on a FW drive, take it roud to Walter’s studio and say, “Can you master this out for me?”, which you do for a reasonable $ fee and everyone’s happy.

    Graeme

    http://www.nattress.com – Film Effects and Standards Conversion for FCP

  • Jerry Hofmann

    May 8, 2007 at 2:23 pm

    Never fear Shane… the LHe will definately support transcoding to Pro REs on the fly… just comes down to which mac you’ll need…

    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

  • Shane Ross

    May 8, 2007 at 2:44 pm

    [Jerry Hofmann] “Never fear Shane… the LHe will definately support transcoding to Pro REs on the fly… just comes down to which mac you’ll need…”

    Gonna need an Intel, huh? Well, then, I will need to get ANOTHER Kona card then, as my current one is a PCI-X card. This will be an expensive upgrade.

    Guess I can sell the old system and buy that I/O HD…

    Shane

    Littlefrog Post
    http://www.lfhd.net

  • Jeremy Garchow

    May 8, 2007 at 2:52 pm

    [Shane Ross] “This will be an expensive upgrade.”

    Oh yeah, that coupled with FCP Studio 2, whatever new cards you need, a whole new adobe suite, universal plug in upgrades, the kitchen sink, updated storage, new cabinets…it will be pricey. I am looking forward to the upgrade, but it’ll hurt for a bit.

  • Graeme Nattress

    May 8, 2007 at 3:00 pm

    You’re not half kidding, especially with the Adobe prices. I’ve got individual full PS, AE and Dreamweaver, but is there an upgrade that combines that lot – nope…. I’ve even got an old Freehand and Xres and Fontographer kicking around somewhere 🙂

    Graeme

    http://www.nattress.com – Film Effects and Standards Conversion for FCP

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