-
offlining HDV with miniDV
Is there as good workflow for working on footage downconverted from HDV to minidv with matching TC in such a way that it would matchback to to the original HDV footage? i know HDV has generational issues with matching back so I just wanted to be sure.
the workflow would look like this
HDV tape -> minidv tape(via firewire with identical TC) -> edited minidv sequence -> minidv footage replaced with HDV footage – final HDV sequence
-
9 Replies
-
[Peterd] “HDV tape -> minidv tape(via firewire with identical TC) -> edited minidv sequence -> minidv footage replaced with HDV footage – final HDV sequence”
Why? HDV is such a small file size, why would you downconvert to DV and then back?
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
-
Not my choice but it’s what a client wants to do
-
Peter,
I just went through the same thing, but it was my boss instead of a client. Walter is right, you DO NOT want to offline in DV, and then recapture your HDV. In my experience HDV has been a huge pain to recapture, and this last time was the least painless, but there always seem to be capture problems. If you are the only one doing this project from start to finish and there’re no other editors or facilities involved, then there’s no reason to capture anything but HDV out of the gate.
Your client is paying you for your experience, not just to be the editing monkey who pulls the levers. I think if you explain that doing it the other way will almost certainly save them time and money, they’ll not only go for it, but be appreciative of not being gouged.
Zak
-
Though perhaps it’s a little old fashioned now, Lumiere HD uses this approach. I can’t vouch for how accurate the matching back is, but they have a workflow explanation on their website:
https://www.lumierehd.com/workflow.php
-
[Peterd] “Not my choice but it’s what a client wants to do”
Peter,
I’m with Walter on this one. And, just for the record, unless the client’s last name is Speilberg, Disney, Paramount, or Universal, you really should insist that they leave the technical side of the edit to you. I often have a discussion with clients who venture across that line by first asking them if they tell their mechanic how to fix their car or tell their doctor how to do his job. And, I firmly suggest that they ask me how I’d do the edit, making sure to they know that I always decide on a course of action as if the money in the budget were coming out of my own pocket.
DRW
-
We do this for a TV series that I am working on. Documentary/reality type show.
HDV Tape (downconvert out of VTR) > FCP as DV> edit DV footage to picture lock > Media Manager to offline and create HDV seq > Recapture > Color correct graphics etc > master to HD and SD
They work off line in DV because it is faster with more realtime capabilities etc and it fits into the way they currently work ( DV converter boxes etc )
The recaptures have been quite solid. Just make sure that you set the capture to make a new clip on TC breaks one you do the first capture otherwise it will be real pain. We always output a QT movie at the picture lock stage so that I can check that my online is perfect against. I end up having some small corrections to make and 1 or 2 clips need to be redone manually. Each epsiode is 30 minutes.
Hope this helps.
Tony
Tony Manolikakis
Rev13 Films -
[TonyManolikakis] “We do this for a TV series that I am working on. Documentary/reality type show.
HDV Tape (downconvert out of VTR) > FCP as DV> edit DV footage to picture lock > Media Manager to offline and create HDV seq > Recapture > Color correct graphics etc > master to HD and SD
They work off line in DV because it is faster with more realtime capabilities etc and it fits into the way they currently work ( DV converter boxes etc )”
Just curious tony, what realtime capabilities do they require for the offline? All I ever use in an offline is a cross dissolve. Just curious to know what they are gaining in the offline by doing HDV.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
-
[walter biscardi] “Just curious to know what they are gaining in the offline by doing HDV.”
I also cannot imagine anything gained in that situation, other than hours labor. It sounds to me like an enormous waste of time, frought with concerns about redos, guide tracks, etc. One of my pet peeves is checking a lengthy timeline with a zillion edits against another lengthy timeline in an effort to be sure they match. It seems a wonderful way to insure black frames in an otherwise perfect edit that I’ve slaved over.
DRW
-
I only do the online, color grading, effects and mastering and the production company does their own offline. They were concerned about needing to add to their current infrastructure. They use DV converter boxes to go out to their SD monitor and DVD recorder and did not want to invest in anything else. Every field tape gets converted to DVD for review and transcription. So I proposed this workflow. It does make for the occasional hair pulling when I do the online but it actually is far less painful than you might think, except for being careful on the TC breaks. In analyzing things so far, I do not think it adds more than 1 day/show to our post workflow. As for realtime effects, you are right, there is not much
Reply to this Discussion! Login or Sign Up