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Onlining DV
I have a client that has a documentary shot entirely on DV. She has done her offline capturing through firewire. I’m wondering what is going to give me the best image quality: recapture everything SDI to Kona uncompressed, or just use her timeline and switch it to uncompressed. My intuition says recapture (I realize we may have offsets due to firewire deck control problems). But I’ve also heard some say just changing the Sequence Settings to uncompressed will give the same results. Please advise.
Thanks
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DSR2000Gordon Gurley
Director of Operations
Stanford Video -
24 Replies
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I’d recapture. Much easier to deal with the 480 -> 486 that way.
Jeremy
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Ah yes, frame size, didn’t even think of that.
Gordon Gurley
Director of Operations
Stanford Video -
Sorry, but I disagree. Why would you recapture? It’s not going to get any better if the original source footage is DV. Unless you are incorporating a lot of photographs scanned in with moves and/or a lot of text, I wouldn’t take all the time and huge amounts of space (I’m assuming you have a lot of tapes for a doc) to recapture.
There are plenty of broadcast shows these days shot and edited on DV and only at the end, converted and output to Beta, Dbeta, etc. I’m working on one now…all DV.
Just my $.02.
KW
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[Kevin Wild] “Sorry, but I disagree. Why would you recapture? It’s not going to get any better if the original source footage is DV. Unless you are incorporating a lot of photographs scanned in with moves and/or a lot of text, I wouldn’t take all the time and huge amounts of space (I’m assuming you have a lot of tapes for a doc) to recapture.”
I’d tend to agree with Kevin, especially if there are loads of tapes involved. The effort isn’t worth the marginal image improvement.
-Simmie
2 G5 – Kona LH
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https://www.speak.co.uk -
Hey Kevin, it’s cool and I see why you’d disagree. I ALWAYS recap to 10 bit for my particular programs, but they usually involve graphics at some point. Your dv footage might not get any ‘better’, but anything you add to a 10 bit timeline will not get some beat up when going to a dv timeline. It’s really your personal preference and if it’s worth for it, it’s worth if not, so be it. I always make it a practice to deliver the highest quality possible, even if it was ‘shot on dv’, but perhaps I’m a nerd.
Jeremy
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OK, here’s another wrinkle. The director is going to output the clips from the timeline back to DV tape though firewire. Of course, she will not manipulate the timeline in any way as to need rendering, recompression. etc. I assume this will be as close to a clone as possible. So the problem of wading through tons of tapes is eliminated. The show does have quite a few graphics and stills to push through, so I think it will benefit from the higher res. And there are some shots that will need heavy color correction.
Can anyone expound on the idea that making new source tape(s) from FCP output is a good idea and won’t take a hit in quality?
Thanks for all the responses.
Gordon Gurley
Director of Operations
Stanford Video -
If you are going back to dv, then it’s best to just stick with dv.
Jeremy
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Sorry if I wasn’t clear, She’s basically making a comp source reel from her Final Cut selects so we don’t have to wade through tons of tapes. The final output will most likely be Dbeta.
Gordon Gurley
Director of Operations
Stanford Video -
Got ya, so you are going to trim, those become the new source tapes (how are you going to match back the originals if need be). You are then going to recapture the new tapes. If going to Dbeta, I’d stick with 10bit.
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She’s going to re-conform from the new selects tape. Sounds convoluted, I know, but I don’t really care if she does all that work. And you’re right, it removes any possibility of going back to the source tapes if need be. Oh well.
Gordon Gurley
Director of Operations
Stanford Video
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