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HDV moving to DV offline
I’m working with HDV native footage and hundreds of hours of tapes… i.e. not enough storage for different resolutions— here is my issue: HDV is a major issue and I can’t have the conforming and rendering times. we are looking to push everything through the Kona via Covergent Design box in DV and later go back for an “online” into a higher resolution probably 10bit SD. I would love to work in dvcproHD the whole time but unfortunately that can’t be helped due to space and budget-
do you guys see un/forseeable issues with this workflow? keep in mind that HDV is a very very unreliable format for timecode-
right now i’m worried about losing time with asst. editors fumbling with an online where I would almost save time waiting for HDV to render out and never have an online… hmmmph.
-jw
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1 Reply
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Standard workflow here is offline captures from camera or deck via firewire using the downconvert to standard def DV. No dubs to another tape. That’s asking for timecode problems.
Edit offline @ Dv. No issues with FCP managing or disk space. Also no need for an HD external monitor. After fine cut lock off, media manage project to HD Uncompressed, deleting unused media with 2 second handles. Batch recapture HD SDI off the Canon HDV camera (pics only. A mixdown of the offline sound is a reference.) I have tried the Miranda and Convergent for HD SDI. The Canon is best for going over cuts. The camera is set to downconvert via the firewire and FCP controls the camera via this firewire.
This workflow has resulted in sync accurate reconforms. The only issue is the shift from lower to upper field. This moves image one field which if you wish can be corrected in audio post. Watch archive footage as this field shift can expose tight edits. Make sure the editors leave a spare frame on the head and tail of source archive.
Grades and titles are then applied in HD. Also any reframing, supers etc translate.
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