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Work flow question FCP DVCam and still photographs
Hi,
I am about to edit a 52 min made for television documentary shot with a Pal DSR570 DVCam (16:9 and 4:3) which also involves lots of effects with photographs (digital and scanned) most likely executed with Motion.
The original idea was to ingest via firewire, do an offline edit with the still images in Motion and then take it to an online suite and recapture the DVCAm fotoage via SDI for color correction and a final master in DigiBeta.
My questions are the following:
1. Is the additional cost of renting an online suite to recapture DVCam footage in SDI really make a significant difference in the finished product, as opposed to working natively with DVCam via firewire and color correcting in DV?
2. If I do go the offline/online route, once I’ve done all the work with manipulating the still images on the offline edit with FCP and Motion, when I recapture my DVCam footage on SDI will I need to do anything addition with the still images?
thanks
kalunga -
2 Replies
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Sorry I don’t have an answer for you but I can’t wait till someone shimes in with a solution. will you really see the difference if you up res and cc in 4:2:2?
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Some claim to see a difference when capturing DV thru SDI, though I have not. (unless your trying to chroma key ) I’m currently working on a 2 hour doc for broadcast shot on Digibeta, but offlined at DV resolution with many photos. Sent the client a couple check tapes, One uncompressed 8-bit SDI and the other DV50. They said both met thier broadcast standards. My current plan is to redig to DV50 and deliver on DigiBeta.
That being said, If your starting with DV material, I would keep it DV unless you have lots of GFX which always take a hit. With some short projects shot in DV, I’ll edit in DV, add text and GFX then switch the Sequence to DV50 or uncompressed and render the timeline out to kick up the GFX, provided they are of higher res. to begin with.
joe
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