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ProRes Sequence to HDV Tape
I edited an HDV sequence in FCP 6.0.2 – sent it to Color – sent it back to FCP as ProRes – fixed everything Color messed up and now I want to record it to an HDV Tape. The sequence from color is ProRes 1920×1080. When I try to print to tape I get an error message saying the sequence is not compatible with HDV print to video. Is there anyway to get a sequence out of Color that will record to an HDV tape?
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8 Replies
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You would need to put it back into an HDV timeline. You can’t lay off from a ProRes timeline to an HDV deck via Firewire, you would need to go in to the machine a different way.
For what it’s worth, this is not a great workflow if your final master is HDV. You’re going to take a new HDV compression hit when you lay back to tape. So you’ll end up with a much more heavily compressed master than if you just stayed in HDV for the entire workflow.
ProRes is really there if you plan to master off to another format like HDCAM. Better to stay in HDV codec for the entire edit if that is your mastering format.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
The new Color Training DVD now available from the Creative Cow! -
so what are my options? can i leave it hdv coming out of color?
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I don’t believe HDV is supported at this time in Color, though I’ll have to check that tomorrow in the office.
Your options are to stay in FCP and grade with something like Colorista or use Color with ProRes and lay back to a different format than HDV.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
The new Color Training DVD now available from the Creative Cow! -
Why do you want to go back to HDV tape anyway? No one takes HDV as a deliverable.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.
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well another editor wants to take what i have done into avid. she thought the most lossless way would be hdv tape. any suggestions as to what the best workflow would be for a project shot on hdv? what would be the best way to get it to her?
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[Andy Lancaster] “any suggestions as to what the best workflow would be for a project shot on hdv? what would be the best way to get it to her?”
I already told you. Work in the HDV codec all the way through. This mean color grading in FCP using Colorista instead of going into Color. Then you lay back to HDV.
OR
You rent an HDCAM deck and lay off your ProRes timeline to that.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
The new Color Training DVD now available from the Creative Cow! -
Actually one more thought is to export the file in the animation codec and take it to them on a hard drive. it’ll be a huge file, but that should work.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
The new Color Training DVD now available from the Creative Cow! -
[walter biscardi] “Actually one more thought is to export the file in the animation codec and take it to them on a hard drive.”
Walter is correct… That would be the only way short of exporting to tape. This would actually make a great FCP trivia question…
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.
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