[Ninetto Makavejev]

I have no idea, never made such a comparison.

But by my rules:
1)always edit the master in the best/original quality
2)re/downsample after edit is completed (as in my suggestion via hd2sd)

good luck, ninetto

[Ninetto Makavejev]

My humble opinion is that your modest system should actually be able to handel HDV, and it would make sense to cut your “master” in the highest quality available.

Scaling HD to SD has always been a problem for Premiere and FCP both, there is an excellent “external” work-flow for this, if you are not scared of some of the geeky-ness of avisynth. Try googling hd2sd + avisynth. At first I was skeptical of the real advantages/differences of using this method, developed and discussed by Dan Isaac at the Adobe forum HERE (https://forums.adobe.com/thread/546075)

But the results were soooo much better in producing SD files (mpeg2 + mp4) from HD- original I would really recommend trying it out.

good luck, ninetto

[Ninetto Makavejev]

Your query is a good one, which I personally haven’t had to deal with as most high-end col.correction programs do have scene detection… like Davinci Resolve which I use. So the “1 large file” is not a problem. In fact, until relatively recently, most colcorr was done from master tape formats.

It is hard to offer general advice without knowing the details of what you plan to do. If it is not intensive correction I guess I would stick to AVCHD and see how it holds up.

Maybe someone else has experience with AVCHD correction? Some kind of proxy solution?

[Ninetto Makavejev]

If I was doing heavy-duty colour-grading, I would edit native, and export the finished timeline to a codec more robust (422 colour space, and/or uncompressed etc etc). Then go from there.

I think you would stretching the limitations of the AVCHD codec otherwise.

[Ninetto Makavejev]

You are ticking “create a new trimmed project” in the project manager?
And determine how large your “handles” should be?

I don’t know which type of mts files you are dealing with, but I have never had problems creating trimmed projects with the project manager.

[Ninetto Makavejev]

How have you been downconverting the HD titles up until now?

[Ninetto Makavejev]

@ Kristian Lam:

have you obtained any additional info regarding my query?

best regards, n.m.

[Ninetto Makavejev]

Top of the morning, to you too, sir.

I have the “Decklink HD Extreme 2”, and I am using the latest drivers on a Windows 7/64-bit system. Monitor is an Eizo 2441W attached via HDMI.

I would be grateful for any tip!

[Ninetto Makavejev]

OK, a little investigation shows the prefs panel offers:

“use 1080p not 1080PsF”

except I cannot access this option, it is greyed out.
Any idea which combination of hardware/prefs options will allow me to access this option?
Or is this an EIZO monitor quirk?

Appreciate any ideas…
regards,
Ninetto M.

[Ninetto Makavejev]

Thanks Dave, this is the one I was looking for:

When Adobe Media Encoder imports a video asset, it attempts to determine the pixel aspect ratio, frame rate, and field order for that asset, as well as how to interpret the alpha channel (transparency) information. If Adobe Media Encoder is wrong about any of these characteristics, you can explicitly assign the correct interpretation.

1.

Select one or more items in the encoding queue.
2.

Choose File > Interpret Footage.
3.

Choose the appropriate interpretation settings.

Using AME with dynamic link to AE has proven to be much more stable than exporting bizarre formats directly from AE. That is after learning one of Dave’s golden rules

https://forums.creativecow.net/readpost/202/887079

of always exporting uncompressed. It is just sometimes space/time demands a minor short-cut and the dynamic-link seems to be exactly that.