-
HDV/ProRes Best Workflow Best Image
I know HDV/ProRes workflows have been discussed numerous times and I’m reading to update my knowledge and have questions about my workflow to see if anyone else has done the same or have recommendations. Last year I thought HDV to ProRes gave a better image on DVD, this year I’m reading that I should stay in HDV?
I’m shooting a road trip with multiple Sony Z1U and V1U cameras, HDV 1080i 60. I’ll return with around 80-hours of footage. The final project will be approx 90-minutes and delivered on DLT for SD DVD duplication. I’ve done this project several years with last year being the first with HDV. Last year I digitized entire footage in ProRes, the entire project ate up about 5TB space and my desktop system worked flawlessly. You can see my system specs in my profile.
Due to my current schedule I need to travel while also needing edit this project and will be editing with my MacBook Pro Intel 2.4 Ghz, 4GB Ram whenever and wherever possible, hotel, plane, campsite, etc. I also need to provide my assistant editor with complete copies of all material so he can work from his location on segments with his MacBook Pro Intel 2 Duo/2.0Ghz. I’m also trying to avoid having to purchase more hard drives as I already way too many external hard drives full of past projects.
This year I’m thinking of using this workflow and appreciate experienced input.
Digitize in HDV on my Quad-Core Intel Xeon system with 3TB internal, 1.25TB SATAMAX. According to my handy iPhone AJA Data Calculator 80 hours HDV requires just 1.2TB compared to ProRes requiring 6TB. This media will reside on my main edit system while my assistant and I work with ProRes proxy files.Media Manage to create ProRes proxy files, should be less than a 2TB, store on external hard drives and clone the drive for my assistant and I to edit on laptops. We will also be working with photoshop files, motion files, AE files, etc.
One we complete off-line I’ll reconnect to HDV files on my desktop system, render, tweak and output to HDCAM and author in DVD Studio Pro.
Does this sound like a good workflow given my circumstances? Will this workflow give me the best looking image as I will not encode twice? Thanking you in advance for your input.
Michael Harrington
Mac Pro, Dual Quad-Core Intel Xeon 2.66 GHz, 12 GB, FCP7, Snow Leopard, ATI Radeon HD 4870, 30-inch Cine Display, 4 – 1TB internal, 1.25TB Esata, Numerous FW 800 external drives, MX02Max, FSI 17″ Broadcast Monitor, Mackie 1402 & Event 20/20 monitors. -
2 Replies
-
If you are editing with the HDV codec, then you can do your final render in FCP in ProRes. I don’t see the point in creating ProRes proxy files. Just duplicate the HDV files which will also act as a backup if you have a drive failure.
Most of my clients are doinf doing docos by shooting and capturing as HDV without any problems. I then take the HDV final (Medi Managed) and then grade with Color which outputs the grade as ProRes which is the final sequence. Titles and graphics are added in and then striaght to HDCam & Digi beta via the Kona3. It looks clean and keeps the project simple with a minimal amount of drive space. Although I hear people her winge about long GOP codecs, I have yet to hear from any of my clients that they have any real issues with editing on a reasonably grunty computer.
-
I was thinking of Media Manager to ProRes proxy because my assist and I will be editing with laptops from portable FW drives and thought the ProRes proxy files would be easier on a less robust laptop?
Anyone else here editing long form HDV files projects with large amounts of raw footage.
Michael Harrington
Mac Pro, Dual Quad-Core Intel Xeon 2.66 GHz, 12 GB, FCP7, Snow Leopard, ATI Radeon HD 4870, 30-inch Cine Display, 4 – 1TB internal, 1.25TB Esata, Numerous FW 800 external drives, MX02Max, FSI 17″ Broadcast Monitor, Mackie 1402 & Event 20/20 monitors.
Reply to this Discussion! Login or Sign Up