Dennis Leppell
Forum Replies Created
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I routinely daisy-chain my personal hdv camera and a lacie drive through fw400 on my laptop. The FW hub, though, may give you a bottleneck.
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Capture ProRes (not HQ!!!). Editing is faster, and easily export in any format. It’s a drive space hog, though, so make sure you have a lot of room.
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Well, first let’s fix some of your preconceptions and terminology. First, HDV IS a codec. The footage was filmed in HDV, and you captured in HDV, its NATIVE format; thus a codec is attached to your footage.
Knowing that, there’s no need to drop the word ‘codec’ into your description of the problem. It’s common practice here to then talk about formats as the format themselves. Example: ‘I captured in ProRes because HDV is Satan’s format’. Not being a grammar nazi, just trying to flesh out your knowledge of the topic.
Now, the question at hand. Capture in HDV, then deliver in ProRes. Yes, if drive space is an issue, this is a way to go. If you captured via Firewire, you’ll be able to export your final video in ProRes using Compressor. But, this is not the way to go, and here’s why.
HDV is 4:2:0 color space (read more about color space here https://blog.dotlot.com/understanding-420-color-space-in-hdv/)
ProRes is 4:2:2 color space, 10bit. This means it holds up better to color grading, compositing, and graphics.
HDV also uses the Long-GOP, which is a rendering nightmare. Even regular scrubbing of the timeline, with no effects or filters, can choke your computer.What’s really important there is the better colorspace in ProRes. If you do any sort of color correction to your HDV material, and then export to prores, it may or may not come out accurately. And once you’ve exported, going back to fix the issue can be very problematic, because the problem exists in the export process and not your timeline.
So I (and most everyone else here) would recommend capturing and editing in ProRes, the exporting in whatever format you need for final delivery.
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Re-encode using the 150 min. preset, or manually adjust the export settings yourself. Remember, you’ll have to also factor in the size of the audio file too, as well as any potential menus on the DVD, to make everything fit on one single layer disk. I’d try to keep it under 4.3 gigs.
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try double clicking the sequence in the browser.
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Instead of the pissing match of Kona vs. Matrox (both good products by all accounts), let’s focus on the root of the problem….buzzing output from the Mac output into the mix board (which is how I also have it setup, with no buzz).
I see 3 possible problems, here’s my order of probability.
1) Bad cable and/or cable ends. Swap out and test.
2) Bad/dirty input/outputs. Clean and test.
3) Dirty pot on the mix board. Clean and test. -
Like Walter said, just drop the footage into your timeline and it will look fine. If you want to spiff it up a bit, you can put in some sort of background graphic to fill out the edges. ESPN uses their logo vertically on each side, subdued, and it look really good. In a hurry, I like using a radial gradient, with a shadow coming of the video on both sides so it pops a little. Otherwise, a nice graphic that ties with the branding of the rest of the video works very well…adds a little polish to the piece.
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720×480 NTSC DV
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I’ve never ejected my disks on shutdown. No problems ever.