David Grantham
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I asked Canon. Turns out all those cameras (and HV30) down-res HD to SD identically, and always to 3:2 pulldown @ 60i.
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In case anyone looks to the conclusion of this post, according to PPro tech support, PPro will interpret both true 24p (I’ve been erroneously calling that 24F) and 24p-as-60i-with-3:2-pulldown the same way (and compatibly) on the same 24p project.
They also said that the way to work with an SD version and create from it an HD version of a project is to import all the SD clips into an HD project and scale them up, and then export/down-res to SD for an SD version (this upresing and down-resing will of course reduce image quality) and reroute the clip links to the HD footage to export an HD version. The resulting HD version could also be to an SD version (I expect this would be better as it would only be scaled in one direction.)
Another way may be to export an EDL between two projects, but there’s no way to copy effects between projects, so they’d have to be re-built.
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Thanks to all for the input so far; looks like the final piece of research I’ll need is to choose an application to create good 24F SD from good 60i 24p SD.(Canon tech tells me all their downconverting cameras – XHA1 included – are limited to that output.)
I’m going to need such an app to create an SD project I can template to an HD 24F project.
Recommendations for pulldown-removal appreciated: AVIsynth? Or something with a friendlier GUI? Cineform? I’ve searched “pull-down removal” and clearly AE (I don’t have it) will, and maybe “interpret footage” in recent versions of Ppro. Aparrently something called “DVfilmmaker.”
(I look forward to the HD-capable editing system and solid state camera on my horizon.)
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My research so far indicates that the HVs shoot 24p only in 2:3 pulldown to 29.97 fps. My material is 24F HDV. Web-sleuthing suggests that HVs can output HDV shot in 24F as 24F. I can’t however find any indication of whether an HV will down-convert this 24F HDV to 24F SD. Posted a query on the Canon forum, but so far a web-search unearths nothing.
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I don’t own either, but the HVs are $100 less per day to rent.
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I wonder if most canons have the same downconversion quality. Economy favours renting an HV40 or HV20 for capturing.
(And Ann’s right about my machine, thx – as mentioned previously, it can’t play HDV with TLC without big hiccups so unless CS4 offers some incredible efficiencies over merely playing, I can’t see how I could edit in HD. But I’ll be installing it today or tomorrw so that’s a simple test.)
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Thankyou Ninetto. Another option. Any guesses about how the SD from the avisynth/HD master would compare to converting to SD in the camera and editing in SD?
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Thankyou both.
Leaning toward converting in the Camera and an SD capture. Even if Cineform is HD stills wrapped into an .avi (not delta-compressed) I doubt my system could work with it very effectively.
I’m guessing I can give subsequent HD-captured versions of the same footage the same names as the SD ones in an up-resed project and let the system crank out an HD version (at its far-from-realtime pace) using the same in and out cues. Having prestriped my tapes may be very helpful here.
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Thankyou Steve.
Seems the step 1 part requires on-the-fly decoding of the HDV delta-compressed original stream (and down-resing to SD) as part of each proxy render or playback as one previews. I’m pretty sure my system won’t have the resources to decode HDV in anything resembling realtime (hence pre-conversion to SD) let alone down-resing or any other effect. (It can’t even play them with VLC wihtout unworkable hiccups.)
Maybe I can use Step 1 to render out (very good – that’s my concern) SD .avi versions of the original footage/clips. After that I could use the method you recommend, but wouldn’t need the motion presets in either step as long as i redirect the clip links in step 2 to the original HD footage.
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Thanks Alan.