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Help needed with explanation on best 4:2:2 working methods
Hi everyone. I have started to get my teeth stuck into FCP for small corporate productions, which is going great. But I need to know more about the technical side of workspaces to make sure I’m doing things to best possible quality.
Currently I bring a lot of rendered animations in from combustion as 10 bit black magics. Also I will be using some footage mostly DVcam and HDV, sometimes digi beta. Also used are hi-quality stills and a lot of Text and graphics components. SO want to have full colour depth and sharpness for the graphical elements.
I normally set my project to be pal 16:9 and output is normally to DVD.
So from recent posts I understand that I should be working in 4:2:2 instead of a 4:1:1 dv project?
Sometimes capture the footage in house on pc, sometimes from freelancers.
Am I right in thinking that working with DV 4:1:1 footage in a 4:2:2 workspace i will be able to do more with filters grading & black levels etc and overall project should look more broadcast quality.
Currently testing FCP on my home Imac G5 so know I will be limited but if this is route to go, we will get a G5 editing suite and capture card.
Many thanks in advance.
Steve Reid – Photographer/Digital Visualizer @ Pixel Image -
1 Reply
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It seems that common wisdom says if you’re working in DV, stay in DV, *but*, if you’re adding
lots of graphics, animations, etc., you’ll benefit from going uncompressed 4:2:2. Some folks are going 10 bit UC,
but there are a number of posts on the subject (do a search) that say there is no benefit to 10 bit,
that 8 bit is fine.
Ed
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