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Workflow HDV 1080 50i- PRORES – COLOR – H264 – when Deinterlace?
Hello,
I have a quick workflow question.
Im going from HDV 1080 50i ingested via firewire to color and then have to compress to play on a mac as quicktime mov through a HD projector as well as on a computer screen (its art :-))
is this right? :
-HDV in a prores 422 1920 x 1080 anamorphic sequence – upper field first
-Use the nattress filters chroma sharpen and deinterlace. Dont have the nattress color plugins
-render out to Prores 422 contained film.-Send new proress 422 sequence with baked films to color
-Export Uncompressed 10bit (i tried exporting to prores but got wacky moire and horizontal patterns on my large white background that had to be heavily corrected due to poor set lighting.)
– Do not deinterlace renders in color.-Rebuild in fcp, sequence settings Same as Source
– create quicktime – Can this just be a Reference Film since no further filters, or does this have to be SELF CONTAINED for best compression??-Then send to compressor: h264 full size, frame control with progressive output.
I also tried Prores LT, but there was stuttering here last time as well.Thanks to anyone who can advise, its going to be a long working weekend!
cheers, alisa
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4 Replies
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hi, just another question, to be sure,
since ive seen some different opinions regarding settings on the forum.In the first step, if I apply the Nattress deinterlace filter, then do I export to Prores 25p or keep it 50i until the very end when i send to compressor for h264 or photo-jpeg?
the end product is a ca. 4meter wall projection from the computer.
low budget and low fi production, long render times.
thanks again in advance for any feedback!
(perhaps this should be in the FCP basics forum, but since i have so many steps, maybe its ok to be here as well?)
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Why not…
– shoot with 1080/50i HDV camera
– edit and grade in 1080/50i HDV sequence
– Export as 1080/50i HDV QuickTime (h.264 if it’s being played on a mac that doesn’t have FCP).Why all the unnecessary extra steps?
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FCP and Avid Technical Support
Air Post Production
Shoreditch – London -
Thanks Gary, for your response.
I guess that’s another route. I found Color easier to tweak.
And – isn’t it good to get out of HDV as quickly as possible for any post processing?also, to avoid the strange moire / banding in the white at the end. The final picture has a lot of white that unfortunately needs to be evened out and beefed up. Outputting to anything less than uncompressed from Color resulted in the banding, even with slight noise added.
alisa
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Seems like an incredibly long workflow for HDV.
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