Andrew Kimery
Forum Replies Created
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Isn’t this one of those questions that’s better asked before you’ve captured all the footage? 😉
For nearly the past two years I’ve worked at a company where we’ve done thousands (literally) of short form projects (5-30min) natively in HDV (typically mixed w/DV, DVCPro HD and/or DVCPro 50 footage) and it’s not this impossible codec to work with that everyone seems to make it out to be. Would I rather work in DVCPro HD or Pro Res? Yeah, but we don’t have the storage capacity for it and I don’t like the idea of losing the tape’s TC and the ability to batch capture. One of the big reasons to get out of HDV is to get away from the compression and 4:2:0 color space to help keep vfx, gfx, etc., looking clean, but if you are just offlining in HDV that’s not a consideration you really need to worry about, IMO. Also, like was mentioned before, you can work natively w/HDV but set the seq to render using ProRes. HDV is also slower when it comes to exports and compression (like making DVDs or web exports for the clients/producers to look at) so that should be factored in as well especially if you are using a non-Intel Mac.
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Warren,
Wanna share your solution incase others run into a similar problem?
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Not to speak for Walter, but if I remember correctly, he ran into some backwards compatibility problems after updating Colorista where projects that used the old version of Colorista didn’t open up properly after the update.
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If you create an HDV or XDCAM HD sequence (I’d go w/which ever format you have more of) and go to the Sequence settings, under the “render control” tab you can set the sequence to render in ProRes. This will keep any effects or color correction you do in the ProRes codec.
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If the clip doesn’t have to be a specific speed and you just want to fill in a gap then the “fit to fill” function is perfect for that. Sit and I/O in the viewer and an I/O in your timeline, hit shift+F11 and FCP will speed up/slow down the clip to fill in the gap in the timeline.
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I would politely bring up the less than great camera work to the producer guy and see what happens. If things don’t improve then I’d walk away If you don’t need the money and it’s not providing you any new growth or opportunities as an editor. If it isn’t earning you a living and it isn’t good enough to go on your reel so you can go earn a living working w/someone else then it’s just a waste of time, IMO.
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I assume they’ll go more in depth on the Tour about FC Server than they did at the last LAFCPUG meeting. If not… oh well, it’s an afternoon out of the office. 🙂
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Like Shane said, FC Server is designed to really work along side, and help organize, a shared storage environment. If you can’t afford to buy a faster enough SAN to support all your clients editing from the SAN at ounce FC Server has a function that, when you open up a FCP project, copies all the required assets from the SAN onto your local machine. It’s not as good as editing directly from a SAN, but it’s better than sneaker-net.
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Congrats, David.
-Andrew
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[Shane Ross] “FCP isn’t to blame…the HDV format is. Because of how HDV works, every start and stop causes a break in the GOP stream.”
That hasn’t been the case w/my experience w/HDV. I work w/a lot of HDV 1080i60, and occasionally 720p60, and I can log and capture just like I do w/DV, DVCPro HD, D-Beta, etc., as long as I remember to turn the stop/start detection “off.”I’ve never run into a problem like the OP’s where capture would fail if the start/stop detection was turned off.
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