however, the only thing lacking (as is usually the case with avid) is personalitys
most creative types always welcome a fresh eye and viewpoint. part of the process is that when you go to “online” you have an individual who has an eye for not only color and sound, but flow and pacing and content. Many is the time that when the rough cut got to me it was still really rough, and needed a lot of air added here and taken away there as well as all the other stuff.
I think this is the biggest reason for this 2 stage process, and usually the one you hear the least about.
[KyleTroxell]“I’m editing in HDV. I know my way around FCP but there are still a lot of things I do not know. Like proper log and capturing, online-offline etc etc.
So with HDV, the sizes are small enough, that if doesn’t matter if I do online or offline?”
Because hard drives are so cheap these days, its best to avoid the the entire concept of recapturing, and just capture at the final resolution from the start. As Rafalaos said, HDV and DV are the same file size, both 13gb per hour so it makes little sense to do a two step process to save space, as no space is saved. In fact, with HDV, many are now capturing as Pro Res, which takes up quite a bit more hard drive space, simply because its full raster no anamorphic sqeezing and unsqueezing, its I-frame based with real video frames and no long GOP computing demands, and because its 10-bit with better color space.
One additional thing that no one else mentioned… A great rule of thumb if you ever do offline/online with an eventual recapture pass, is to make sure to keep everything at the same framerate and same aspect ratio if at all possible. Where the process becomes really gets complicated is shooting at somethng like 24p and offline ediitng at 29.97, then onlining at 24p. Even very expereinced editors get that messed up all the the time.
David Roth Weiss
David Weiss Productions, Inc.
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