Hector Berrebi
Forum Replies Created
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Ok… So you are conforming in DS, editing in MC and shooting HDV…
Just as a side note, potentially, you could offline on anything you want and still be able to finish on DS.
As for your workflow:
Option 1. (best one in my opinion)
Capture HDV via proper hardware (AjA io express would be your cheapest option) using a deck that can output SDI or Y Pb Pr. Capture to DNXHD 36 if storage is a concern (this is the right HD offline resolution in Avid).
if storage is not an issue capture to DNXHD 120 or higher. This will later be your online material for grading. DNXHD 120+ is mastering quality and you will not need to recapture. It will take 15 MBs of storage.If you capture DNX36 then you will have to recapture your sequence to higher DNX in DS.
Option 2. ( less favorable)
Capture HDV via FireWire, set your project to HDV 1440 and capture HDV1080 MXF.
This will take the least HD space. But might be more render intensive.
It will require recapture on DS to high DNXHD but as it was first captured via FireWire it might reconform incorrectly (issues with HDV’s TC) on some/all of your shotsRun a test first!!
Option 3. (might be interesting didn’t try it)
Capture FireWire to FCP (yes… I know it’s an avid question)
in FCP you can FW captur HDV straight to ProRes HQ.
Avid should be able to link to these files via AMA even on a PC.
ProRes files are just as good quality as a high DNX but they don’t require expensive hardware to be captured.
If you don’t count the Mac 🙂
ProRes HQ is 27.5 MBs on your drive. And is definitely good enough for mastering…your real problem BTW is HDV… It’s not a good format.
Hope this helps
Hector
Hector Berrebi
prePost Consulting -
[Adam Claude Jones] “All the so called “Hi-end” pros that are complaining”
agreed…
there just isn’t that much real high-end work done as people on these boards often suggest.
most of post production work done worldwide is either for web, private distribution or TV, its shot on XDCAM, P2, DSLR, AVCHD and for the luckier few, Prores (and probably a few other formats).
in most cases footage is shot 8 bits 4:2:0, or 8 bits 4:2:2, and in most cases compressed.that is not high-end. and if FCPX takes good care of all of these formats… better, faster and smoother than FCP7 does today. we should all be very happy.
whoever think they do high-end using FCP7 are in most cases deluding themselves.
its not simple, neither cheep to run real high-end stuff on current FCP.
10 bits and higher, 4:4:4 or uncompressed are complicated to color manage, monitor, and keep color info intact within FCP
and that’s before overall stability of system and software
(unless you work with Prores 4×4, but that will probably work in FCPX too)there are other, better tools for the smaller percentage of high-end work. and especially there are operators, and professionals who know what to do, and how to do it with these tools.
FCP was never really a high-end tool… and its ok like that
just by being 64 bit, and having full color management FCPX is already more high-end than FCP7 ever was.
hector
Hector Berrebi
prePost Consulting -
Looks like the new color balnce tools will probably misbehave with traditional control surfaces, being a multi point curve (though 3-way can still exist as a filter).
However… This tool looks perfect for an iPad app control surface 🙂
So… Are we back to assume color is R.I.P?
Hector Berrebi
prePost Consulting -
[Michael Hancock] “That promotion started at NAB before FCPX was even announced”
actually, the promotion started the day it was announced… suggesting at least, that maybe Avid knew about the announcement too, not just the release date…
BTW, i just noticed the expiration date… not the announcement of course.
damn think is nerve wrecking… in a nerdy fun way
Hector Berrebi
prePost Consulting -
just noticed this… (maybe i’m not the first… but who has time to read through all of them)
now… if you look at the expiration date on the bottom this flyer….
it says June 17, which is this week friday.why would Avid end their promotion this friday and not at the end of june, like Adobe?
maybe because they know stuff that Adobe (and us) don’t.
and if FCPX is out for 299$ this Thursday, who would care for the FCP-Avid promotion… so they might as well go back to original price
i place one on 6.15.2011
hector
Hector Berrebi
prePost Consulting -
[Ben Holmes] “. On the one hand, AVID software costs more, on the other, Mac Pros cost more.”
maybe not completely related but worth a side note. many Avid systems are on
mac-pros… and many mac-pros are bought for AVID software… actually, the parallel workstations from Dell and HP (last time i checked) are more expensive than a similarly equipped mac-pro, which will run AVID just as well.hector
Hector Berrebi
prePost Consulting -
🙂 motion looks more mature and well organized
the scope menu is nice too… not something you’d see in a software that dumped pro users.
its not cool enough to be a hoax.
nice news
Hector Berrebi
prePost Consulting -
[Dennis Radeke] ” and please don’t say FCP Server…”
FCP server…
sorry, i had to… i took part in large scale integrations where it proved its worth. its definitely not AVID, but it works. and to my best knowledge better than premiere.
don’t get me wrong, i do like premiere a lot. i use it frequently, and give lectures to Avid and FCP editors on how to integrate premiere in their workflows. however, as a day to day, solid alternative to FCP and AVID, Premiere pro is still a weak option.
you may say “oh yes trim tools su*k a little … i’m sorry”
somewhat disregarding how important a good set of trim tools is in NLE. a good editor can show you 20+ valid alternatives to a given cut in one minute using trim tools in AVID or FCP. you just can’t do that with Premiere… it kills editing. and whoever thinks otherwise is just not experienced enough.beyond trim tools…?
the lack of an adobe work codec for proper online/offline workflows (DNXHD, PRORES… i always thought Adobe would be smart enough to buy cineform… apparently they weren’t)
bad media management tools and philosophy, too little options, not well organized, FCP is a little weak on that too but miles ahead of Premiere.
i could go on and on, or detail more on what i wrote but its probably not the thread for that
and its also how i make my living so i’d have to charge you 🙂hector
Hector Berrebi
prePost Consulting -
[Bob Zelin] “there are many professional hi end editors that generally feel that “FCP-X better be much better than AVID DS or Smoke” – but how many of those users are out there ? Apple is in business to make money, and will try to appeal to the largest audience, including people that have never edited before. As for the hi end professionals, with their hi end requirements – well, I think that this is VERY unimportant to Apple. Even if that pisses off most of the user base of Creative Cow. If FCP-X doesn’t have multiclip, doesn’t have log and capture, doesn’t work with your existing capture I/O cards, and has a new learning curve – BUT products like Adobe Premier DO all of these features, will it be that emotional for you to switch ? Especially since almost everyone reading this already owns Adobe Production Premium ? I am hoping that this is NOT the case, but I am prepared for anything.”
hi Bob..
not sure who expects it to be SMOKE or DS (god i hope it won’t be like DS). i for one expect 3 things, all promised by Apple and all supposedly meant to drastically improve many of my workflows (i didn’t write all…) 64 bit. my damn mac pro has been slacking for the past 4 years with 6 processors and a ton of RAM just sitting there and humming. i want to use this computing power on my daily missions BEFORE i replace my workstation… been waiting for this for the longest time…
no rendering. a lot of my work is on-lining multiple short episodes. if all my rendering was background, I’d save so much time.
and full, accurate color management, which is to be rigorously tested,
but if it works than… yayi can probably deal with many changes… (i started editing when stuff was linear) and creative solution will pop to fix what’s needed… log and capture can be done externally (sometimes even better)… if FCP-X will be as cool as it can be, i could deal with no L&C. and if it will peacefully sit next to FCP7, i could probably find ways to use both. apple maybe doesn’t care about high-end, but as long as they take care of most things below it i think it might be even better.
if FCP-X works perfectly and smoothly with AVCHD, DSLR, P2, XDCAM and Prores (it does support them today, but in any way it can’t be called perfect) it will cover 80% of the work globally (estimating a number… could be lower or higher but not by much) and I’ll love it and use it all the time. even if i have to re-learn it.the high-end work will require skilled pros, like it always did. I’d HATE for a 299$ app sold on line to be able to deal perfectly and easily with high-end. that would be hell for real professionals,
like handing race cars to bad drives…we will always find ways to deal with high-end. we do today, and we did 10 years ago… that’s why people pay us, and that’s why we are pros. software and companies have nothing to do with that.
now on the other hand, if FCP-X won’t cater for traditional stuff done daily everywhere – multicam, IO cards, fast intuitive trim tools, OMF exports, traditional evaluation tools etc’ then we should all kick it in its pink (the logo is pinkish now…right?) ass back to where it was programed
about premier… it maybe does the things you mentioned… but try some heavy trimming with it… or working in a multiple user environment. I’d never switch to adobe. the people who write premiere obviously never edit.
my current escape plan is SMOKE 🙂 or maybe AVID… if MC6 rocks
peace
hector
Hector Berrebi
prePost Consulting -
paul,
just as a side note, P2 material is MXF and supported native on MC via AMA
you don’t have to consolidate to be able to edit and even FX and gradejust copy the camera folders to a dedicated location on your internal drive (or a fast external drive) and link.
you might need to transcode or consolidate your sequence at the end… but that is a lot simpler
hector
Hector Berrebi
prePost Consulting