Elizabeth Czyzewski
Forum Replies Created
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It might also be important to know that I’m editing Apple ProRes (Proxy) and will upres to ProRes 422 for online via the Media Manage offline sequence/Log and Transfer method.
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I’m still running on OS X v 10.4.11 and you need Snow Leopard to run Media Composer 5, which is what AVID currently offers. Unfortunately I can’t find any earlier versions to download a trial of.
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And I guess it’s wise to double check – are there any settings that I should change from what the Apple ProRes 422 (not HQ) defaults would be?
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Great! As far as Compressor goes, I’ll just use the Apple ProRes 422 compression setting (but change compression type from 422HQ to 422). It seems strange for that to be the default as opposed to 422. Any idea why that is?
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The reason I was leaning toward the HQ is because I think the filmmaker will want to mess around a bunch with the color and look of the piece and it’s my understanding that the image holds up a lot better with HQ than with SQ when it comes to digital image manipulation. Is this valid?
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The deck is a Sony HDV HVR-M10U, hooked up via firewire. As per the manual’s instructions, I’ve set the [In/Out Rec] menu settings [VCR HDV/DV] to [AUTO] and set [i.LINK CONV] to [OFF].
In Final Cut, in the Audio/Video Settings, I have the capture Preset set to HDV which is capturing as 1080i60. What other settings are there? There’s no option in Final Cut Capture Presets for me to change any settings within the HDV preset and when the capture window comes up, there is no room for me to change anything there either.
I will add that a problem I have is that the woman for whom I am working does not remember how the tapes were shot and apparently there’s no way to find out.