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You say edit native, but if lots of GFX/layers?
Starting a 7-minute FCS2 project, to be cut from a couple of hundred original clips in DVCPROHD 108024p.
I’ve read in the forum it’s better to edit native format, then take the master to a ProRes sequence for color correction and titles.
But if there’ll be lots of supered elements, filters and layers of GFX, is it better (quality) to edit in ProRes to begin with?
That asked, an important issue– all clips are Quicktimes from a P2/FS-100 shoot, so I cannot re-capture directly to ProRes, I would have to convert all the original clips.
BTW– happy holidays!
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8 Replies
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[Bill Bilowit – Tareco Pictures] “But if there’ll be lots of supered elements, filters and layers of GFX, is it better (quality) to edit in ProRes to begin with? “
When you convert to Proress, you are loosing a generation, because is a lossy codec. Edit in your original format. Only when you have everything ready to export, change the codex of your sequence to Prores HQ and set High Precision rendering.
rafaelPPC G5 2x2Gh 4GbRAM/BlackMagic SD/PMBP 17″Core2Duo 4GbRAM
JVC DTV-17″/FCS2/AE CS3/COMBUSTION/SHAKE -
I am a beginner in FCS2 and ProRes, so thanks in advance for your patience!
You say it’s a lossy codec, but in this particular project I will need to often render layered segments and bring them back into my DVCPROHD (compressed) timeline anyway.
So, why convert to ProRes at all for color correcting, if it’s too lossy for layers, filters and supers? -
[Bill Bilowit – Tareco Pictures] “So, why convert to ProRes at all for color correcting, if it’s too lossy for layers, filters and super”
Not too lossy, but lossy. I guess that many people capture with Proress because after the workflow is easier. But as I tell you, you are loosing a generation on capturing with not benefit.
I fallow my master Nattress. Capture the original. Upgrade the sequence codex before exporting.
Try to make your footage suffer the less possible number of compression-recompression processes.
RafaelPPC G5 2x2Gh 4GbRAM/BlackMagic SD/PMBP 17″Core2Duo 4GbRAM
JVC DTV-17″/FCS2/AE CS3/COMBUSTION/SHAKE -
[Bill Bilowit – Tareco Pictures] “I’ve read in the forum it’s better to edit native format, then take the master to a ProRes sequence for color correction and titles.”
We don’t do this. I’ve been editing DVCPro HD broadcast and long form documentary projects for three years now. All edited natively in DVCPro HD and we’ve continued that process even with ProRes being available. I see no improvement gained by adding that codec to the mix.
We’ve color graded about 20 shows now through Final Touch HD and now Color and the DVCPro HD codec holds up superbly for CC work.
My advice is to just stay in the DVCPro HD codec all the way through your edit. It works extremely well here.
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! -
Thank you, both Walter and Rafael for your info and advice!
And happy new year, too.
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[walter biscardi] “I’ve been editing DVCPro HD broadcast and long form documentary projects for three years now. All edited natively in DVCPro HD and we’ve continued that process even with ProRes being available.”
I concur…me too. DVCPRO HD from the start. BUT…on the last show I saw some banding caused by the 8-bit codec that caused me to pause. On the next show (or series) I intend to test out the ProRes workflow (sheesh, why not do that now?) and see if I can’t get that to go away. I know that it is a perfectly viable option.
It is 10 bit vs DVCPRO HDs 8 bit…
Shane
Littlefrog PostGETTING ORGANIZED WITH FINAL CUT PRO DVD now for sale!
http://www.lfhd.net -
Shane said: “On the next show (or series) I intend to test out the ProRes workflow (sheesh, why not do that now?) and see if I can’t get that to go away. I know that it is a perfectly viable option.”
Hmm, I have a MacBook Pro with a pair of G-Raids; with DVCPROHD 1080 that system already renders faster and displays some FX, color correction and filters better than my Dual G5 with fibre RAID.
What I have yet to experience is how much horsepower it really takes for a 10-bit ProRes edit with either of these systems. I will give it a small-scale test before I get started on this new project on the MBP.
Onward and upward (and more color space)…
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Yea I work with the codec a lot as well, it’s pretty light weight for an hd codec due to the 8bit nature.it is a little nasty thought when it comes to pixel aspect ratio and such
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