Steve Connor
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Apple Final Cut Pro X Coins
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COW Coins
Forum Replies Created
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[Chris Poisson] “My point is like what you said, downconverting HDV to uncompressed 8 bit 4:2:2. So alls I’m asking is what would it look like, how much better and in what ways than regular old DV footage, not DV downconverted from HDV, does that make sense? Before I spring for the hardware and camera, I just want to know what it would look like?”
We’ve done a comparison on a 10 bit timeline with Z1 HDV footage and PD170 DV footage. The HDV footage is sharper and seems to have better colour resolution. Put it this way, our PD170’s have been resting quietly in their bags since the HDV cameras arrived.
Try and get a demo if you can.
Steve Connor
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It depends on how you want to work, we usually capture native HDV in FCP5, put the clips we want on to a separate 10 bit timeline and export them via quicktime to create new files.
As Graeme mentioned, make sure high quality scaling is set to “on”
It takes a while to output, but the quality is superb (providing the original material was shot well)
If you’re have a fast system, you can also just drop the HDV clips into your 10 bit timeline and get a (very slow) preview. I’ve edited HDV clips straight into a 10 bit sequence with material captured from Digibeta and rendered it off as we go.
Steve Connor
Cardinal HD -
[Michael Horton] “Have you tried this Adolfo? Would be very cool if it worked.”
I’ve tried it, it works fine!
Steve Connor
Cardinal HD -
As with a large majority of the discussions here on the COW, it all comes down to personal choice doesn’t it. Your “smart” way may vary from mine!
Steve Connor
Cardinal HD -
[Walter Biscardi] “I would just capture it straight up as 8bit uncompressed here I suppose, depending on how much material there was. It would certainly make it much easier to work with than native HDV.”
Just capture Native HDV, if you have a fast system, working in HDV is only marginally slower than DV, then when you are finished render out your finished timeline to uncompressed HD for Titles/FX the quality is superb and the workflow is very easy.
The mistake a lot of people are making is assuming that HDV is a “cheap” option, hence the ENDLESS posts on here about not being able to monitor it through the camera!
If you use the format in a professional setup, it has a lot of advantages. It is great for “B” roll shooting alongside higher end HD, it’s got us out of trouble a couple of times where the main camera has missed the action or been a little soft (happens in HD!)
Those who are turning their noses up at HDV are missing out on a valuable (and Cheap) extra tool to work with.
Steve Connor
Cardinal HD -
The background frame is the key thing here, I used Titlemotion for 3 years and I liked it a lot, but if I could have either that with background frame or Livetype with no background frame, I would choose Livetype every single time, I don’t find it a major pain to export a second or two of video into Livetype if I need it. Every single time I show a client what it can do, it always gets a smile!
I’m also with Walter on the Boris titler, for down and dirty text work it’s absolutely fine and the quality is great.
Steve Connor
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My iMac G5 never drops frames, but I’m on FCP 5 with a G-RAID connnected. I would suggest the upgrade to v5.
Steve Connor
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We had the same problem with the DVDSP content disk, sounds like you have dodgy discs – demand a replacement!
Steve Connor
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You can print to tape, but the timeline needs to be rendered out first, it can’t do all the necessary calculations in real time. HD takes a lot of overhead in the system.
Steve Connor
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You CAN put it back to tape, you just can’t monitor it via firewire!
Steve Connor
Cardinal HD