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Logic of exporting to DV for output to DVD
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This is an excellent thread! I am one that does have your disc, Noah, but I want to add one more question: I am editing a show that has some footage captured on an Z1, for backup and different angles. What would be the recommend place to bring this in? I am thinking I can bring in the 1080i60 HDV footage to the 1080p30 timeline, but not sure if this would work the best, i.e., be the most efficient and provide the best quality.
Tom Parke
ProScan DPTom Parke
ProScan DP -
If I have an XDCAM project that needs to go to SD-DVD now, but I want to archive the project for later Blu-Ray or other HD application, is there any benefit to exporting to Prores, or should I just export a self-contained native XDCAM Quicktime file?
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[Chris Babbitt] “If I have an XDCAM project that needs to go to SD-DVD now, but I want to archive the project for later Blu-Ray or other HD application, is there any benefit to exporting to Prores, or should I just export a self-contained native XDCAM Quicktime file?”
I’d go to ProRes- otherwise you’re compressing the image down twice- once in camera, once in FCP. Quality would take a major hit vs. having a nice ProRes master. That’s as close as you can get to uncompressed while still being relatively small file size.
Noah
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I’d start a new thread for that one…
Noah
Check out My My FCP Blog and my new RED Blog. Unlock the secrets of the DVX100, HVX200 and Apple Color.
Now featuring the Sony EX1 Guidebook,
DVD Studio Pro and How to Light Interviews.
https://www.callboxlive.com -
Hi, Noah,
After using many other workflows, I used yours: export to ProRes HQ DV-PAL 16:9 -> Compressor DVD Best Quality 90 min.
Fast and a good result – I will stick to this workflow.
But …
… earlier I have used “Sharpen edges” filter in Compessor with improved result. So I tested that filter here too, and could find a slightly sharper result at settings 5 and 8. Noise was also more pronounced, but changes were really subtle, probaby not possible to detect when clips are not compared in a sequence..
Do you ever use this filter?
Sverker Hahn, Stockholm
Slower is better!
Sony EX1
Final Cut Studio 2
iMac Intel
MacBook Pro 15″ -
If your project is under an hour in length, there is no need to use “Best Quality” which is a 2-pass variable bit-rate. In this instance, you will save both time and quality by choosing “Fastest” and selecting “Single-Pass with a high constant bit-rate. I choose 7.5. This way, the entire piece is encoded at the highest bit-rate instead of dipping to a lower bit-rate for certain passages, and it takes about half the time.
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As usual I’m late but I want to say,
– To go to DV is almost a crime. Go to DV only when you will print to DV. Even the original DV footage should be rendered with a better codec.– Many people believe that DV and MPEG-2 are basically the same because both are 420, but the way those two formats sample the Chroma (co-sited/interstitial) make them completely different.
– Greg asked if is important the “Frame control”. The Frame Control is critical in any process where you have to deal with resizing, fields order or Time Base changes. You don’t need to set it for a simple transcode, but the FC manual states that Compressor only works in 10b when the Frame Control is ON.
Happy Sunday:-)
rafael -
Great post. I’ve been having problems for years with exporting and never really understood why my footage that looked great in the original–looked so degraded by the end. This thread, and others, are helping me understand how blind I’ve been to my workflow deficits. I’ll be purchasing your DVDs…
Kevyn
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