Workflow Questions HDV to DVCPro HD to SD DVD?

As the subject says, I have several plays I shot in with 720p and 1080i for the second camera. So I was thinking of converting the HDV to DVCPro HD in their respective size formats to get the i-frame benefits for transitions, color correction, etc. Then ultimately the final delivery will be SD DVD disk. So my question is, to go from HDV to DVCPro HD, compressor has some presets to convert HDV to DVCPro HD and it then makes it non square so the footage viewed in QT looks scrunched but is fine in Final Cut as it compensates. So the deal is since the final delivery is SD DVD is it fine to let compressor move it to non-square or should I try to keep the conversion square? Will it make a difference? I just did a test taking the 720p HDV to 720p DVCPro HD, non-square, then dragged that clip to compressor and output as 16:9 SD mpeg2 and it looks great...just lower resolution. So any input is appreciated on my suggested workflow? Thanks!

The way it looks in your sequence is the way it will come out in the SD DVD... so if it's OK there, it's good to go all the way to a SD MPEG file and burn to a DVD.
Jerry

Similar Messages

A little confused about HDV to DVCPro HD etc

Hi, a couple of people have told me to convert my HDV footage to DVCpro for editing / compositing / fades etc because of the quicker workflow in FCP.
Ideally I'd like to output 720p
Does this sound like a good solution... If so should I:
a) Convert all footage using compressor before starting
b) Just create a DVCPro HD timeline in FCP and render the files there
c) Make a DVCPro HD sequence and use something like nattress plugins to create de-interlaced 720p footage..
d) None of the above..
Also, I know I don't 'need' a RAID 0 for HDV, but would I get any substantial improvement if working in DVCPro HD or Motion projects etc.
I'm working on a Quad Mac Pro with 3gb Ram.
Thanks in advance.

First, Craig:
Hi Shane, I am using a Sony HDR-HC1. I'm not sure if the outputs from the camera will plug into the card.
What outputs do you have from the camera? Ah...looking it up I see that it has an S-Video jack. Ick...I wouldn't go that route. Best to rent an HDV deck and use component out. Or upconvert after with compressor.
Fenster:
if I wanted to make my life easier when I color correct and key out my green screen I should convert my footage to DVCPRO HD
Shooting a key with HDV to begin with is not the wisest decision. The HUGE amount of compression. I will also say that pulling a key with DVCPRO HD isn't the best either, but is more doable. I don't think converting HDV to DVCPRO HD would make pulling a key any easier. Compression is already there.
Shane

RED Workflow questions with Mac Pro (including third party plugins)

Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
Editing all footage off 96TB Raid 6 mini-sas server (getting about 1100mbs read/write rate according to AJA system test) which is faster than any Thunderbolt/TB2 drive array I have.
Media I work with is footage from the RED Epic (normally 5K) as well as DSLR footage from the 5d.
Software:
-PrPro CC 2014 (8.1)
-Magic Bullet Looks 2.5.2
My question(s) pertains to RED post-pro workflow in combination with third party plug-ins and the different approaches to make it more efficient.
Right now, majority of the clients need a 1080p HD master, and they are generally anywhere from 2-8 minutes (usually). So my sequence settings are as follows:
Video:
Editing Mode: RED Cinema
Size: 1920 x 1080
Audio: 48Hz
Video Previews
Preview File Format: I-Frame Only MPEG
Codec: MPEG I-Frame
1920x1080
Maximum Bit Depth unchecked
Maximum Render Quality unchecked
Composite in Linear Color checked
Export Settings
H.264
1920x1080
VBR 1 pass
Target Bitrate 12mbs
Max bitrate 12mbs
Maximum render quality/depth/previews unchecked
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
Would using offline editing help at all?
Do you place your effects on adjustment layers?
Is there anyway to improve export settings when using an array of filters?
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?

Hi This Is Ironclad,
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
The biggest issue is that most people have is that updating OS X causes certain folders to be set to Read Only. See this blog post: Premiere Pro CC, CC 2014, or 2014.1 freezing on startup or crashing while working (Mac OS X 10.9, and later).
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
It's a nice base system. How about an additional speedy disk for media cache files. You also did not mention which version of OS X you are running.
thisisironclad wrote:
Software:
-Magic Bullet Looks 2.5.2
The Red Giant website does not indicate that this software is yet updated to work with Premiere Pro CC 2014.1 (8.1). Proceed with caution here.
thisisironclad wrote:
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
I would not use this plug-in until you get the OK from the manufacturer.
thisisironclad wrote:
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
Again, I suspect your plug-in.
Keep in mind that exports are largely CPU based but you can make sure that GPU acceleration is enabled for AME at the bottom of the Queue panel.
thisisironclad wrote:
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
It's OK.
thisisironclad wrote:
Would using offline editing help at all?
No need when you should be able to edit natively. Relinking might also be an issue.
thisisironclad wrote:
Do you place your effects on adjustment layers?
That's one way you can do it with the benefit of being more organized.
thisisironclad wrote:
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
I do. Of course, that's a preference.
thisisironclad wrote:
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Try the following:
Sign out from Creative Cloud, restart Premiere Pro, then sign in
Update any GPU drivers
Trash preferences
Ensure Adobe preference files are set to read/write(Hopefully you checked this out already)
Delete media cache
Remove plug-ins
If you have AMD GPUs, make sure CUDA is not installed
Repair permissions
Disconnect any third party hardware
If you have a CUDA GPU, ensure that the Mercury Playback Engine is set to CUDA, not OpenCLYou have AMD GPUs.
Disable App Nap
Reboot
thisisironclad wrote:
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?
I really shouldn't answer that question.
Hope this helps.
Thanks,
Kevin

Yet Another Workflow Question

Ok I too, like many others here, am new to the Mac (thanks to Apple's I'm a Mac, I'm a PC ads that my wife couldn't get enough of). I have done some searching around and I see that there are quite a few iMovie workflow questions out there. I have not quite found what I am looking for however, so I thought I would make my first post tonight. So here it goes...
I have 3 different ways I capture video:
1. Canon Vixia HF10 (HD)
2. Canon Powershot (SD)
3. Blackberry Storm (SD...I know it isn't a good phone)
I record everything to SD cards. I am wanting to know the best way to store my raw video for editing at any time. Do I copy the AVCHD file structure (for the Vixia) and .avi files (for the other non HD) to my hdd, or do I just import into iMovie '09 and let it reside there, or both? I noticed that iMovie had an archival option (which appears to just copy the AVCHD structure to my hdd), which is why I ask. I want to always keep my raw video in case I decide to go back later and create a new video.
After I have the raw video archived, I would like to know the best way to use iMovie. Depending on where I end up storing the raw video, should I keep the imported video in iMovie once I am finished with a project, and then reimport it at a later date if need be? Or, do I leave it in iMovie as events? I guess this all rely depends on the first question...where do I store the raw video for archival purposes...
Finally, when exporting my iMovie project, should I store that in more of a, pardon the Windows reference, "My Videos" folder with a original size, web optimized size, and ipod optimized size? Thus, keeping the actual exported version of the project separate from the raw video?
I hope I have asked the right questions here. I appreciate any and all help I can get!
Ron

Welcome Ron to the  iMovie boards..
very interesting : 'switchers' care sooo much for 'storage strategies' ..
the by Apple intended workflow/concept for iApps is:
any 'photocam' related material (still or movin') comes-in via iPhoto, and is stored in an iP Library (=you can tell iP to create 2/many Libs, if you prefer to organize manually....)
any 'camcorder' related material HAS to be imported by iM - why? because, iM has some internal routines to make such material editable (codecs, thumnails, stuff....). the same material as 'file by Finder' does not import.. in most cases!
storage..
iP stores in its Library (local/internal HDD and/or ext. HDD)
iM stores in Events (local/internal HDD and/or ext. HDD)
to make Projects/Albums accessible to any iApp, you should keep your fingers off that structure.
Erasing Events 'kills' projects.
allthough, once 'shared to media browser' there's a 'copy' of your project WITHIN the project file. (= the socalled Media Browser is no single Folder somewhere hidden in the system)
there's this Spacesaver feature to erase any Event content which is not in use in any project to keep Events lean.
use the Archive feature from within iM to keep things easy and convenient.. if you miss a single file of the SDcard file-structure, the whole card's content is kaputt ..
summary:
• use iApps as intended.
• use iP for cameras, it stores 'raws' (the avi too)
• use iM for camcorders, use Archive to store raws..
• purchase a dozend of HDDs to store your material..

Sharpening export workflow question

I have a sharpening workflow question. Say I have pictures from a portrait session I just finished. I have to send 10 pictures the client ordered to a print lab and I also will make some small facebook sized pictures and upload them to my business facebook page. The level of sharpening needed for large prints (I upload to print lab as RGB JPEGS) and sharpening needed for the very small sRGB facebook-sized pictures is different. In Lightroom I have the option to set the sharpening on export and have a bunch of presets that alter the export size, color space, sharpening, etc(WHCC print lab, facebook, Client CD, etc). I don't see how to do that in Aperture. I see they have the option if you have a printer, but not on normal export.
For those of you that have to export batches of pictures in multiple different sizes (with different levels of sharpening), what is your workflow? I could use some photoshop droplets/actions after Aperture export but I was hoping there was a way to avoid the extra step. Am I overlooking an export feature? The BorderFX plug-in looks like the only other option.
Thank you in advance for time and help!
Scott

Frank Scallo Jr wrote:
The thing is guys - Once a file is sized down it WILL lose sharpening - what we are doing is sharpening the full size RAW file or rather what the full size output would be like. Once we export a version sized down it will lose some of the 'bite'. LR has sharpening options on 'output' which is not only smart but a necessity. Adobe realizes that output for screen needs another sharpen. Apple either doesn't know or didn't bother. It makes ANY output for screen less than best.
Bear in mind that there seem to be two separate issues going on here - sharpening adjustments not being applied on export, and resizing.
As far as resizing is concerned, Aperture appears to use something roughly equivalent to Photoshop's Bicubic Sharper setting. Because of this I've never had much problem with Aperture's exports when used for the web, but obviously everyone's taste for sharpening differs which is why an option for output sharpening would be good.
Sharpening adjustments not being applied on export is a separate issue and should be reported via the feedback form ASAP by everyone who is experiencing the bug.
Now printing is another animal - I wouldn't print directly from RAW in aperture either if I'm printing small. Again, LR beats Aperture here as well since they include output sharpening for print.
Aperture has had output sharpening for printing since 2.0 came out (unless it in was 1.5). In A3 you need to turn on 'More Options' and scroll down, I can't remember where it is in A2. I don't know how effective it is as I print via a lab, but it's there and it's been there for a long time...
Ian

Best workflow from HDV sequence to DVD

I have a HDV sequence 55 minutes,
- export self-contained QT movie, about 10Gig. that takes about 2-3 hours,
- sent to compressor 3, 90 mins best quality,
and it want to take 40 hours!!! to do it......
also tried Visual Hub, took 120 minutes, wrote DVD with toast, image was quite good, but sound was broken,and only half of the movie was written, toast reported an error.
have also done a few short tests using compressor and the image quality was simply awful.
love to know what is the best way, and fairly quick, and good quality to get from the sequence to a DVD.
FCP 6

I'm still a bit blown away by the complexities of HDV editing. SD seemed so simple in comparison!
Everything I read related to taking a project from an HDV timeline to an SD DVD project is such a lengthy process. Which brings me to ask this question... I have captured 1080i footage shot with my Canon XH-A1 and with my Canon HV20 and edited the footage in HDV sequences in FCP. At the time I was unaware of there being processes (such as those mentioned in the posts above) for converting HDV projects to SD DVD projects. So, I simply continued the process of burning a DVD with the HDV sequence just as I always have with SD projects. I exported a QuickTime file of my edited sequence and then imported that QT file into iDVD to burn a DVD. I was very much aware that this DVD would not contain high def footage because I was not using a high def burner or high def discs, so I just assumed that the end result would be having my HDV project deliverable on DVD in standard def. And I wasn't disappointed. My iDVD project burnt successfully and soon thereafter I was able to watch the DVD from a standard DVD player. Granted this was not a long project - it was about 10 minutes worth of video - but is there anything wrong with using this process to go from an HDV sequence to a playable SD DVD? And would the process that I just described work for projects as long as 30 minutes or more?

Workflow question - HD/SD/Filters

I have 1080i HDV footage that I'm using as the basis of an SD project. To start I used
the AME CS4 to convert all the HDV clips to avi. I'm doing all my editing with
the avi clips. No issues so far with that part of the process.
As the project progressed I got intolerant of the noise in the footage (from the original HDV) and decided
to use the Neat Video plug-in. It also works well except it takes a huge amount of
time to create previews and render. So far, the effect is being applied to the converted
SD clips.
What I'd like to do is go back and convert the HDV clips to SD again, only this time
with the plug-in effect applied. That way I can just do a "replace footage" in the
project and get the noise-reduced versions of the avi files and avoid any further
mega-processing incured by the filter.
What I want is a "batch convert with effect applied" workflow.
Possible? Options?
Thanks.

Sorry, I'm not familiar with the Neat filters, so I can't answer that. But on your other remark about converting at the start or the end, in my experience I prefer, keeping Graig's comments in mind, to do the conversion at the end.
My usual workflow from HDV material is edit and only when finished, encoding to I-Frame MPEG2 @ 100+ Mbps with 1920 x 1080 resolution and with 422 profile, maximum render quality and maximum pixel depth, then encoding with HC to MPEG2-DVD and then adding the AC3 track. My experience is that HC takes way more time than AME, which does the job at least twice as fast as real-time. So encoding with AME takes less than 30 minutes for a one hour timeline. That does not bother me very much.

HDV and DVCPro HD in the same timeline???

If I want to mix 720p footage from both HDV and DVCPro HD (from the JVC HD100 and Panasonic HVX200 respectively), what timeline preset should I set it for: 720p30 HDV or 720p30 DVCPro HD? If I set it for HDV 720p30, will this mess up the DVCPro HD?

Create a DVCPro HD timeline, then drop HDV onto it. You will need to render the timeline with the HDV footage to play it smoothly, but it will save you rendering all your footage, even if you are not going to use it.
Rendering all your HDV into DVCPro will require a lot more storage if you captured it as native HDV or about the same amount of storage if you used Apple Intermediate Codec (AIC) HDV.
Even if it does play back smoothly (using RT extreme or whatever) you should force render the timeline, to make sure of the look of HDV rendered in DVC Pro HD meets your requirements.

Workflow suggestions HDV to DV edit

I'm not sure if there is better way to do this so I'll ask here. Shot a show recently in HD (Sony Z1U) and brought it into my system through the Sony HVR M10U downconverting through the deck for DV.
What capture settings are optimal and what project settings should I be using? This is going to be ouput to DVD.
Shot a few weeks ago in SD 16:9 and had no issues. There seems to be a difference in the screen real estate used.
Thanks

I've just completed a project with pretty much that same issues: HDV on a Sony V1U with the eventual target DVD (SD, anamorphic widescreen). My computer is a G5 Quad running FCS 2 and OS X 10.4.9.
I captured in HDV using HDV60i preset and edited that way; I have no "green screen" type of editing to do: mostly cuts, opacity ramps, and some very minor color and "brightness" corrections. I then "rendered" which was mostly conforming (about 1.5 times real time on my computer), then exported "reference." I used compressor to do the down-rezzing to SD using mpeg2 4.5-7.0 "best quality, two pass" and AC3 2.0 (stereo). The result looks better than on older project using a Sony PDX10 DV.
I had some issues using ProRes422HD: jaggies. Maybe it was my work flow since I used Quicktime to do the conversions on some test footage, but they looked TERRIBLE. Maybe compressor would do better, or setting up a ProRes422 sequence. But the cost is LOTS of disk space compared to HDV.
I have tried the Bonzai solution in the past with FCS 1 and it did help; with FCS 2, it seems that compressor has solved it's little problem with resolution transcoding. I like to avoid converting to DV either in the computer or using the camera because you drop to 4:1:1 color space and that really hurts the video quality. Staying with HDV (or DVCPRO HD or DVCPRO50 or ProRes 422 are supposed to be even better) keeps the color space at 4:2:0 for less vertical banding.
But try some test footage especially with high contrast diagonal edges in the video, and especially with RED to (other) sharp edges. See what works for you and report back here...please.
Ed

Workflow Question

Hi, I have a quicktime self contained movie I've exported from FCP. It's just over 6 hours long (it's a seminar). The file size is 34 gigs. It's 854x480 Apple Intermediate Codec, Linear PCM bitrate 14,176
Does anyone have a workflow suggestion for me. I need to get a compressed data file so the client can burn extra DVD's but I also need to burn 3 copies of a viewable DVD for delivery.
I know this will most likely end up being a multiple DVD set. Quality is not a huge concern here because the footage is from a locked off camera and not very good in the first place. I just took out all the pauses and breaks etc. There are no titles or graphics.
If I compress it to h.264 this could be an issue when I author it for DVD, right? Aren't there some DVD players that don't playback h.264? I'm looking for the most universal solution I guess. Is there a special workflow if it's going to be multi DVD? What presets or settings should I use? the bitrate is 14,000 right now, should I cap the range or what is the best range if it's going to DVD? With the 854x480 should I just use "current settings" or should I use the 720x480 16:9 preset? Any tips would help. My goal is to compress it as much as possible but use a codec that is fairly universal for most DVD players. Thanks in advance.

Standard DVD format can fit about 2 hours on a single layer DVD (depending on a few factors, more or less time can fit, but 2hrs is recommended), I'd recommend splitting your clip in to 2 hour chunks (you could re-export from FCP into chunks or use compressor to select different in and out points from your long file) Once your in Compressor there are presets for DVD(Standard DVD has to be Standard Definition 720X480, but the preset will take care of that). I've found that the lengths they quote 90, 120 and 150 min are a bit low (as in if you compress a clip that is 150min at the 150 min preset it will not fit on a single layer DVD).
Compressor, using the presets, will give you a .M2V and .AC3 file for use in authoring to DVD Disc with iDVD or DVD Studio Pro.
If you compressed to h.264 a and burned a Data Disc, almost no DVD players will play it. h.264 is preferred for web and portable devices. If you want to make a 'Video DVD' like what you buy with hollywood movies, it has to be Standard Definition mpeg2 authored to disc (not a drag and drop, finder burned, data disc)
-mjwill
Message was edited by: M J Will

Mixing XDCAM and HDV?? Outputting to SD DVD...

Hi
Earlier this year we shot a documentary on a Sony PDW-F350L HD XDCam (great camera, stunning footage - 35Mbps). Working in FCP has been fine.
We're doing a follow up and budget and logistics dictate that we sadly can't use 350s again (where we're going, carrying 2 Z1s for example is going to be a lot easier). We're also on a fairly steep learning curve (being relatively new to FCP, Compressor etc).
So I'm looking at options. We know that there are significant differences between say a Z1 and a 350 but from my research so far and from some relatively simple testing mixing Z1 footage (native) and 350 footage on FCP, at least editing on the timeline doesn't seem like it's going to present any problems (although thoughts on that welcome).
The issue seems to be outputting. In the first instance we'll be outputting to SD DVD. Yes, that old gem...
Searching round various forums, it seems this problem (HDV - SD) is fairly universal. Solutions seem to range from not working in Native HDV (suggestions vary on the format to ingest in - AIC etc); outputting to different formats first (eg DVCPro HD) and then to MPEG-2; outputting the timeline to tape (DV), re-importing; using some thing like a Matrox MXO to output and others...
We're aware of the shortcoming of HDV and the compressed nature of the format and our expectations, given our kit are realistic. I've even tried putting some PD150 footage on the timeline but that's just not going to cut it.
So, I've got to put a kit list together by next week and wondered if anyone had any thoughts on:
1) Mixing XDCAM and HDV on the timeline and any gotchas we should watch out for.
but more importantly
2) Any suggested routes I can look at to get some reasonable output with these two formats on the timeline - particularly HDV (don't think we'll have time to look at the Matrox route right now).
Many thanks in advance for any thoughts.
Cheers

Thanks Andy, Michael
That's good input. From an editing point of view we seem to be ok. Although, Michael, I take your point and that's a good suggestion.
The main problem is the workflow to create a decent SD DVD without the artefacts caused by compression/motion etc in HDV (and to some extent XDCAM).
Have read the prores whitepaper at
http://images.apple.com/finalcutstudio/resources/whitepapers/L342568A_ProResWP.pdf
And looked a little more into understanding GOP structures and it seems that ProRes will help in terms of editing.
The white paper seems to suggest that converting to ProRes, because it uses I frame–only encoding "Ensures consistent quality in every frame and no artifacts from complex motion. "
We'll try some tests but, does anyone know if this is true?
But it also seems that deinterlacing may solve some of the horrendous vertical edge rippling we're getting on the HDV footage when outputting to SD DVD - although if I'm honest I'm not sure how we achive that with our current setting.

HDV vs. DV: Exporting to DVD process???

Couple of questions here. I dont have too much experience exporting to a DVD.
1) Current equipment is a Canon GL2 with Final Cut HD. I created a 10 min video project with captures using the DV ntsc presets- 720 x 480. Compiled the clips and exported using 4:3 aspect DV 640 x 480 quicktime movie. Created a DVD using DVDStudio. Played it on a DVD player and the picture was a bit pixalated. Am i doing something wrong? Can i export to a higher resolution prior to making a DVD?
I want to make a decent quality SD DVD, do i have the right equipment- it being the Canon GL2 DV camera?
Leads me to my second issue.
2) I mentioned for the time being all i need i a very good quality SD DVD. Do i need to go with an HDV Camera? Or will the quality with using an HDV camera down to an SD DVD be the same or similar to what a DV camera can produce?
I hope this isnt asking for too much, but i tried to do a little research on my own but there are too many information floating around and its getting a little too confusing.
Any help wil be greatly appreciated!!
Jay

Export to Quicktime Movie simply maintains whatever settings you have in your sequence
If you are working with SD DV tapes (that is, regular mini-DV/DVCam) you would be using an Easy Setup of DV NTSC ... or DV NTSC 32 K if you recorded your tapes at the 12 bit audio rate. Since SD video is 720x480, then that is what you get. Exporting as Quicktime Movie gives you exactly that ... if you are going to compress for DVD, then that is what you want. You don't need ... or don't want ... any further compression.
The only caveat to this is, if you are using DVD Studio Pro you may want to use Compressor to give you some more MPEG-2 options, like adjusting endcoding options to help fit more footage onto a DVD or encoding the audio as AC-3. But you should start exporting as QT movie. You can drop that straight into DVD Studio and encode from there; if you use Compressor you drop the QT movie into that

HDV 25p Final Cut Workflow Question

Hello,
After reading a lot of material I'm trying to come to some conclusion about which workflow to use, to balance between: the lower spec system I've got, getting fine graphic elements, being able to take the project through Color, and to end with an HD(V) master project file.
It would be great if others with experience with these issues could comment on the workflow I'm proposing.
I'm running an iMac with the latest Final Cut Studio programs and one 500GB firewire drive for video and render files.
Workflow:
1 - Camera aquisition is with Canon's HV20 - HDV 25p
2 - Capture over firewire to a 25p HDV sequence
3 - Edit in HDV (with the Render Codec as ProRes 422 - in User Preferences)
4 - Add any Motion files, Titles, LiveType or whatever else needs to go in the timeline
5 - When complete, duplicate the sequence and change the settings in the new sequence to ProRes 422
6 - Render Timeline as full ProRes 422
7 - Export to Color, render Color files out and place in a new ProRes 422 timeline
8 - Export self-contained Quicktime with current settings as the Master
Comments please. I'm no expert, but I'm trying to settle on a decent workflow.
If I'm right, this should make one conversion from HDV to ProRes 422 before going through Color (while also taking advantage of ProRes for the rendering of all the Motion graphics and Title clips). Then one further render coming out of Color.
It seems pretty clean and not to extanious for my system, although I'm still working on the theory.
Any workflow experts, please advise!
Thanks,
Matt
Yoga Maya Films - http://www.yogamayafilms.com
The Film Producer's Podcast - http://www.yogamayafilms.com/podcast

No one?
The main part I'm wondering about is:
HDV timeline, but render settings to ProRes and then moving the whole thing to render out as a ProRes file (possibly going through Color at that point - and if so, coming back to a ProRes timeline and doing a self-contained Quicktime export).
I basically said it all in the first post. If someone's tried it, or has a better work flow for HDV it would be great to hear.
Matt

Question? Best Workflow HD/HDV and Reframing/Scaling to Export to both HD and SD when working in an HD Timeline?

Just wondering, what is the best method for working with HD Footage both HDV 1440x1080 and HD 1920x1080
Not long been using Adobe Premiere Pro CC, just switched over from Grass Valley EDIUS 6.08 and atempting my first Stage Show Multi Camera.
Source is 5 HDV PAL and 1x1920x180 60fps MP4 file from a Sanyo Handy Cam.
Final delivery is going to be DVD.
Have done a few smaller projects prior to and normally have edited in HDV 1440x1080 50i PAL and exported to whatever format I need.
Slightly different this time, I need to I need to crop/reframe some video from a couple of the Static locked off cameras. I know what to do but at moment though, I'm very much undecided which method to use for best results.
Doing some testing I notice that if I import the footage and edit in my usual HD Timeline as said above, then I go into Motion and Scale and reframe to suit, then the picture still
looks better still Full Screen on my 2nd Monitor in the HD Timeline than if I switch the Sequence Settings to SD DV PAL.
I am wondering how the scaler works when exporting. Say I go with the original HD Sequence, scale the Locked off Shots as I want them, then export to SD DV PAL then does the Adobe Media Encoder take into account that I am working in a HD Sequence (HDV 1440x1080 50i PAL) and then Scale to suit or does upscaling go in an HD Timeline then Exporting to SD make things worse, I am asking this as I still like to have the option to output an HD file for the Web and possible Bluray or Mobile Device later on.
I also still prefer working in an HD Timeline as for the other Camera Angles, then it is easier to judge focus since the image is sharper, as apposed to working in an SD Sequence.
I guess the other option I suppose is to edit in HD and then switch the Sequence Settings later on to SD before Export, but not sure that would work with the scaling? Or is that the same as working in an HD Timeline anyway and then selecting an SD Preset in the Adobe Media Encoder anyway?
I guess what I am saying is, if I say for example, Scale a HDV source to 130% or then export to SD in the AME then, is the AME upscalling the original HDV Source to 130% Loosing Quality firstly (making less pixels that to begin with), then downscaling back again to 100% SD Resolution, loosing quality once more, or does it see that the source is HD and has more pixels to use and take that into account? If you get what I am saying. Obviously if I am exporting to any HD Format then, I understand that where will be some quality lose with any amount of HD scale.
I also read that it is less CPU resource full working in the native resolution of the media when editing, especially on an older system.
The other option is to work in an 720 Preset possiblely?
At the moment I don't have a proper Preview device and am making do with the 2nd Display on my Graphics Card GTX 760.
I was looking at getting a Blackmagic Device for preview, or possible one of the Matrox.
It is a shame really, since I already have the Canopus HD Storm in the PC, which I was using with EDIUS for a lovely full screen preview to a 32" TV, since looked great, so since switthcing to Premiere, I can't use it and am having to make do with the GTX 760. Which isn't as good.
Maybe there is some setting I can alter to get a better Playback Image?
Anyway, I notice that the Full Screen Image from the GTX 760 is not as clear as it should be when editing, especially whilst playing back the image is slightly soft and more so when in the Multicam Mode it is even softer.
I am not sure if this is because my computer is not quiet fast enough? Maybe I should post this in a seperate thread in the Hardware forum, but I thought it was worth mentioned in this post aswell.
SYSTEM SPECS
Gigabyte EP45-UD3LR (Socket 775) Motherboard
8GB DDR PC-800 RAM (4x2 Sticks)
Intel Core2 Quad CPU Q9650 @ 3.00GHz
60GB OCZ SSD (FM-25S2S-60GBP2 ATA Device)
2 TB 7200 Sata 300 Hard Drive - For Video (Hitachi HDS722020ALA330 ATA Device)
Windows 7 SP1 x64
So in short At the moment I am undecided which method is best to use

Your Creative camera is not the best one could wish for. Open a 1280 x 720 sequence, import some Creative footage, use motion scale to fit it in and judge the quality for yourself. My guess is you will be disappointed in the quality. Then when outputting to DVD you will reduce the resolution and quality again, making it even worse.
So, my suggestion is, don't follow that route.
Ultimately you will end up with 720 x 576 material for your DVD. You already need to upscale your Creative footage, and change the PAR and take serious quality hits, do not increase your problems by upscaling and then downscaling again.

Mixing HDV and DVCPRO HD

I'm working on a project where the interviews were shot in HDV 1080i60, and most of the B-roll was shot in DVCPROHD 720p24 (but some in HDV 1080i60).
Ordinarily I'd choose to edit at the lesser resolution, but I'm thinking that since most of the material is 1080i60, that's the ideal sequence resolution and frame rate, even though this would involve uprezzing the 720p material slightly. I'm also thinking that the progressive material will look better in an interlaced sequence than vice-versa, and since the 720p material is DVCPRO HD, it ought to weather the uprez decently. Stop me if you disagree.
The next question is codec. My first thought was: edit in HDV, then swap out for a better codec (ProRes or DVCPRO HD) before final output. That seems better than the prospect of cross-coding everything to ProRes or something. Again, stop me if you disagree.
Thanks, everyone, for your input and helping me think through this...

Thanks X. Why not HQ? Too much disk space for no quality benefit?
Where do editors get to fire the director who didn't think through the post issues?
Seriously, I'm not complaining. This actually is not as bad as the one-hour show which was shot with five cameras: two XDCAM, one HDV, one three-chip DV and one one-chip DV...

Workflow Questions HDV to DVCPro HD to SD DVD?

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