HDV long format workflow with FCP

I think this is a fairly simple question, but I'm having a hard time getting an answer.
Can you take footage from a Sony Z1 (HDV) camera (or ANY HDV camera) and load it into FCP at low-res (say, Photo-Jpeg or the like), edit it, and then recapture at full HDV using the master tapes in batch capture?
I'll be working on a long-form documentary with many hours of footage, and would like to work in the lowest res possible...
I've also heard there may be issues with HDV timecode being accurate enough for re-capture.
Thanks for your help.
-Rob

Hi Shane. thanks. Yes i do know that HDV takes up same amount of space as DV. If it were a DV documentary with 700 hours of footage, I'd still want to edit in OFFLINE RT and then upres at end.
I guess the big question is... If you downconvert the HDV to DV through firewire, then does that mean you can capture at OFFLINE RT and still retain a decent timecode to RE-capture at full HDV when the edit is complete?
I don't have the HDV camera yet, as I'm still trying to figure out the best way to do this thing.
Best,
Rob

Similar Messages

Tapeless workflow with FCP 5 and Canon XL H1

Is it possible to establish a tapeless workflow with FCP 5 and a Canon XL H1 shooting in HD mode?
We have to shoot many days of lectures and want to skip the import of the footage. The firestore FS-C can only record up to 7.5 hours in HD but we don't have the time to empty it overnight so it can be available the next day...
We can connect a couple of 500 GB lacie to a 17" Macbook Pro and wanted to use FCP to live capture from the camera. Is that possible?
Or did anyone try to do that with the Canon Console software (windows only) and then import its stream in FCP?
Thanks

No time to unload a drive when you have all night? Why would that be? Isn't this just a big drag and drop? Can't let it start and go to dinner?
If you shoot HDV you should also record it to tape becuase disk drives can fail etc during the shoot.
You can capture live from the camera's FW port but again I'd shoot tape as well... use capture now but also use the device control that works with that camera to get the TC thru too. (probably FW HDV basic)
The camera also has an uncompressed output but that would take a capture card and fast disk array (faster than FW for sure) to capture the uncompressed HD.
Jerry

What HDV model will fit with fcp HD 4.5?

Hi to all of you there. I own fcp 4.5 and upgraded it to the hd version. Now i want to buy a hdv camera. I saw that sony is selling the hdr-hc3 model. Will this camera work with my version of fcp? If not, what model will work? Do i have to upgrade fcp again?

FCP HD (4.5) will not work with HDV footage since the HDV format came out much later than this version did. You'll need to upgrade to Final Cut Studio (FCP 5) to work with HDV natively. http://www.apple.com/universal/crossgrade/
Or you can use a program such as HDVxDV to convert your footage to DV for editing with FCP HD. http://www.kenstone.net/fcphomepage/hdvxdvwright.html
-DH

Workflow with FCP 7 advice

Hi,
So I have really struggled with embracing FCP X. Though each update seems to make things a little bit better, I really still just dispise the whole layout of X and despite the background rendering, it seems unbelievably slow on my setup compared to FCP 7. I am running 10.6.8 on a quad core with 16Gb Ram and SSD.
Basically I have only been using FCP X for video and audio enhancements and corrections. The color correction and audio correction options specifically seem to give a lot better results in many cases. That being said, currently what I have been doing is importing my footage into X, correct or affect what I need and then export back out as ProRes to use in FCP 7.
My question is whether or not anyone can recommend a good workflow.
So for example, I have my footage organized as follows:
Backup HDD -> Project Name -> Camera 1, Camera 2, B-Roll
I normally import footage (but not copy) to default Event/Project. After corrections on a per clip basis, I create a new folder in "Project Name" as "Corrected" and then subdivide as needed. So I do still end up with duplicates, one original set and then the corrected set. This takes up a lot of space but allows me to redo anything necessary off the original files. The other issue is that I need to do this per clip on the timeline, export then delete and start over, rinse and repeat.
Can anyone suggest a better, faster way to achieve mass corrections on the clips using FCP X for use back into FCP 7? Or is this how others are working with both FCP 7 and X?

Yes, I am aware that they are not designed to integrate per se. But just like using After Effects or Motion in conjunction with FCP, there are many ways to accomplish things for the best output of the final project.
For example, I am working on a Sin City type effect for a video. This is super easy to achieve in FCP X and the results look better, but it is a bit more involved to do in FCP 7. So this is why I am color correcting in FCP X, but I much prefer editing in FCP 7. I know most of the hot keys are same, but the entire GUI layout of FCP X and how clips attach to each other and this whole storyline thing is very unintuitive and foreign to me. Hence my continued use of FCP 7.

Best workflow for HDV 1080/60i/24pA with FCP 5.1.4

I've spent hours trying to find the answer to this specific problem on the discussion forums as well as the FCP user manuals and I can't find it, please help! I've got a Sony HVR-V1U and I recently recorded several hours of footage at 24pA. I would like to edit the footage in 24p, and preferably in a different codec besides HDV and definitely not in AIC. I don't have any experience with Cinema Tools and I can't seem to get any files directly from FCP to Cinema Tools no matter what I transcode the video to. Also, is there any way to transcode the video to ProRes because it is so much faster to render video in ProRes than in HDV.
Thanks in advance!

Removing pulldown is done during capture if you shot 24pa, and in Cinema tools if you shot 24p. However I don't think that camera shoots a version of 24p that works when you remove the pulldown pattern. I could be wrong, but as I recall, the 24fps video that the v1u shoots isn't exactly the same as that shot by say, a DV camera so might not work removing pulldown. Just looked at the specs at Sony on the camera... it does apparently shoot with a 2:3 pulldown, so after you capture, you might try Cinema tools for the removal. Never heard of anyone doing this with HDV though, so it might be pretty problematic.
That said, you should be able to transcode to ProRes in Compressor, and it should look great. Don't use your computer display to judge the quality of the results though, use an external video monitor. Artifact may show up on the computer's display when it's really not in the video...
Jerry

Is a .VOB video format compatible with FCP

I have been sent a DVD with .VOB format which I have imported into FCP, but there is no sound.
Is this non compatible, or have I done something wrong?

when you use "open" "video TS" and select a VOB file in your DVD --pick up any one- , the program should ask whether you want to open all files ?
Do you get this message ?
if yes your DVD is probably not protected.
If you use DVDxdv, and your disk is protected, you should see green squares on the screen when you open files and get weired sound.

Canon-HV20 Workflow with FCP 5.1.4

hi, I've been having all the same problems with pulldown that everyone else seems to have with the HV20 only problem is, I have 5.1.4, and I cannot find any help with this version, just my luck I have the version no one else has, ANY help would be greatly appreciated, I just need a way to capture and not have the terrible pulldown, thanks.

Cinema Tools can remove the 3:2 pulldown but its a bit of fussing around. You first have to convert the imported video to Apple Intermediate Codec (AIC). Then you have to manual figure out the cadence for each clip in Cinema Tools and do the reverse telecine.
There used to be some tutorials on the HV20 forums here: http://dvinfo.net/conf/forumdisplay.php?f=139 but I haven't looked at them lately.

HVX200a workflow to FCP?

Hello FCP Gurus,
Going to work with the HVX200a and MXF files for the very first time. This is a low/no budget comedy project with industry professionals donating their time (I've been running Inferno the last 5 years and dusting off the editing chops). Hoping to wrap my head around the workflow BEFORE the shoot. Here's some questions:
1) Shooting with HVX200a using two p2 cards dumping one while shooting with the other. I'm hoping this PCMCIA to Express slot converter works? *I have a MacBook Pro Intel Core 2 Duo from 2008. Can anyone confirm this?*
http://www.duel-systemsadapters.com/?productid=DP-0001
2) After each P2 card is full, will be dumping the shot folder plus .txt file from P2 card to duplicate reel folders on two drives, GRAID FW800 for editing, LaCie FW400 for backup. *Does this drive scenario make sense?*
3) From the GRAID FW800 Drive intend to play with footage on set a bit in FCP. From the demos I've seen (Thanks Shane Ross Creative Cow) it seems I'll need FCP 6 and will use the log and capture feature to pulled in desired footage. *Does this import create duplicate files, AKA Quicktimes taking more space, inside my designated capture Scratch FCP folder?*
4) I like the idea of logging Metadata into the original source clips so they can be used on any system FCP/Avid/Inferno and the notes will stay with source MXF files. *Is there a way to do this without buying an expensive program like MXF4Mac and copying this data to our backup folders on our FW400?*
5) Once all the footage is in the can and duplicated we will be logging (hopefully on original desktop clip) and pulling footage into a FCP system on a new MacPro. The editing will move back and forth between that system and my MacBook Pro so we intend to keep all the project files and renders on our GRAID FW800 constantly backing up onto the LaCie FW400. *Any feedback on this work flow?*
6) Finally I will be shooting shooting additional footage with my Canon 7D 1080p 24fps native H.264 and the HVX200a will be shooting 720p DVCPro 24fps native. The HVX is the main camera so was planning on converting the 7D footage to 720p DVCPro 24fps native and working with a 720p DVCPro 24fps native timeline. *Is this the best way to combine the two formats and maintain the best end quality?*
Thank you in advance for any suggestions and ideas!!!!
Michael AKA Tangelope
Visual Effects Artist and Editor

First and foremost...watch this tutorial:
P2 Workflow with FCP 6
1) Yes, the Duel is what you need. WARNING! Not compatible with SNOW LEOPARD. No fix in the works either. So I hope you are running Leopard.
2) After each P2 card is full, will be dumping the shot folder plus .txt file from P2 card to duplicate reel folders on two drives, GRAID FW800 for editing, LaCie FW400 for backup. Does this drive scenario make sense?
Yes... BUT, FCP doesn't edit MXF natively. So you will have to store the masters on the LaCie, and import them onto the G-RAID. Watch the tutorial.
Does this import create duplicate files, AKA Quicktimes taking more space, inside my designated capture Scratch FCP folder?
DUPLICATES? INSIDE the capture scratch? No...it puts ONE copy there. BUT, it does take the MXF files and wrap them into QT. SO if you have the MXF on the same drive as the imported footage, then yes, you are doubling the footage. If you'd like, you can get MXF4MAC or P2 Flow and edit the MXF files natively. That workflow is slicker than snot. And with P2 Flow, you can view the footage, and edit or add any metadata you want. And then either work with that natively in FCP, or export a batch list that FCP can import and wrap as QT, carrying over all the metadata you need.
Tellin' you, slick.
4) I like the idea of logging Metadata into the original source clips so they can be used on any system FCP/Avid/Inferno and the notes will stay with source MXF files. Is there a way to do this without buying an expensive program like MXF4Mac and copying this data to our backup folders on our FW400?
Ahhh...this is what I get for not reading the WHOLE POST first.
MXF4Mac, P2 Flow, HD Log...those are what you need. Sorry, nothing cheaper. CAlibrated only reads what you have, as does Raylight. Only those options allow you to modify.
Any feedback on this work flow?
Uh...yeah. Don't do it. You are telling me that the Lacie AND the G-Raid are where you will store your master P2 card dumps, AND where you will store the media. This is MAJOR MAJOR NO NO! If you lose a drive, which happens, then you are FUBAR...SOL. You need to offload the clips onto an ARCHIVE DRIVE....then import onto a MEDIA drive. Then you can clone the media drive and have two with the same file structure and name to go back and forth. The only issue will be RENDER FILES and any new media you add.
6) Finally I will be shooting shooting additional footage with my Canon 7D 1080p 24fps native H.264 and the HVX200a will be shooting 720p DVCPro 24fps native. The HVX is the main camera so was planning on converting the 7D footage to 720p DVCPro 24fps native and working with a 720p DVCPro 24fps native timeline. Is this the best way to combine the two formats and maintain the best end quality?
Know that 24fps NATIVE on the HVX-200 is 23.98, and the 24fps on the Canon 7D...that shoots 24fps? not 30fps? Really? IF it shoots 24fps, then it might be like the Canon 5D that shot 30fps, not 29.97 that is video standard, but 30fps. If the 7D shoots video (I didn't think it even did that, I thought only the 5D did), then you need to convert the footage to DVCPRO HD 720p 23.98 to match your other footage. Use Compressor.
Watch that tutorial. Back up your P2. Those are your MASTER TAPES. Don't mess around and go cheap. This is not the time to do it.
Shane

Canon HV20 24P HDV workflow, Some things with FCP and Quicktime are ODD.

Canon HV20, 24P, HDV, CMOS sensor...
First, I do hope and pray that the FCP dudes are making this work native at HDV 24p -- great!
But until then, there's a workflow (see below) and a real oddity I can't figure out, and if anyone has any thoughts about it that would be great.
Sometimes, the image captured/shown/exported is a lighter picture, and other capture/playing/export methods are darker picture. Example: the captured 60i from Final Cut Pro has a light gamma picture when viewed in Quicktime Player.
But playback in Final Cut Pro appears darker, and rich. But then exporting it out turns it light again, but export out to a MPEG-2 DVD is darker again? ODD.
Can anyone explain the FCP capture size of 1888 x 1062?
Anyhow, here is some workflow success that I had.
Capturing in Final Cut Pro using the HDV 1080/60i setting with HDV firewire basic NDF. But 60i is evil. So that's not enough. Got to get it to 24P,since that allows 20% more bandwidth, space, faster renders, and DVD players can play it.
Transcoding to a regular editing codec before converting to 24P is required. I found that MPEG Streamclip would create a wierd, jagged edges on small moving figures with high contrast, no matter what the settings, so I refuse to use it to export the footage.
So instead, FCP has an additional capture option of "Apple Intermediate Codec" or something like that, which transcribes it on the fly to AIC. I always stayed away from AIC like the plague, but they must have spent some time with it because it's nearly identical to the HDV original.
Next, open up in Quicktime Player, and start the clip on that second P frame. Sounds odd, I know. Goto the first interlaced frame, and back up two frames. Mark the "I", and then move that Out marker to the end, and then Trim the clip to the selection. Do that with all the clips, and then you can batch 24P them all.
If you don't want to find that one frame each time, here are the other settings:
First, open up the clip inside cinema tools, and then select Rev. Telecine button.
Find out which of these your clip is doing at the very beginning:
p-p-i-i-p - aa
p-i-i-p-p - bb
i-p-p-p-i - bc
p-p-p-i-i - cd
i-i-p-p-p - this is no good. must remove at least one frame from the beginning of source file
i = interlaced frame
p = progressive frame
all settings use the F1-F2, style one, standard upper/lower

Sometimes, the image captured/shown/exported is a lighter picture, and other capture/playing/export methods are darker picture. Example: the captured 60i from Final Cut Pro has a light gamma picture when viewed in Quicktime Player.
But playback in Final Cut Pro appears darker, and rich. But then exporting it out turns it light again, but export out to a MPEG-2 DVD is darker again? ODD.
This is known. This happens with ANY footage you look at in FCP and QT player. QT lightens the gamma of the footage. Why? Something to do with adjusting the image for computer monitors.
Shane

Help with FCP and long project editing - Thanks!

I have posted several questions in this discussion group and in the iMovie group to no avail. I get a lot of answers, but not from anyone who has actually done any of the editing I am seeking. So if anyone has actually done the editing I am describing below -- I appreciate your help. Yes, I have searched the archives -- but again, I see a lot of confusing feedback. I have been working on this for three days now and it's driving me crazy! I have discovered that iMoive is $#@% -- and does not work with a long project, (40 minutes) so I am thinking about switching to FCP-HD. Thanks.
Here goes:
1: I need to transfer original master footage, 1080i HDV from a Sony HDR-FX1 to an editing program, edit the tapes (over 5 hours total) into a 50 minute "program". I then need to "share" or export the footage back to a new tape, using the Sony HDR-FX1 as the receiving camera. Simple enough.
2: I need to make sure the outgoing footage is of equal quality as the original footage taken from the camera. I am guessing here, that the footage can be edited in FCP-5 as "native" -- then transferred back to the Sony?
3: I am assuming that the native footage is just that -- and will not require the long process of converting to another format, e.g., ASI that takes hours to
render. (as in iMovie).
4: I am assuming I can edit and view HDV as native footage in FCP in real time, like iMovie, via firewire from the camera?
I really appreciate any assistance.
Chance

Welcome to the family, you'll be joining us soon.
The FCP product page says: > It features powerful new multicamera editing, native HDV support, ... edit everything from DV and SD to DVCPRO HD and fully uncompressed 10-bit high-definition video. Or work with new formats like native HDV (long-GOP MPEG2) and 50Mbps IMX... HD editing requires a 1GHz or faster PowerPC G4 or G5 and 1GB of RAM (2GB recommended).<
You seem to have the hardware including the Flux-o-pator, but, really, you want to talk to an Apple reseller who handles FCP and understands HDV via Sony. I don't like the way you're using "I am assuming..." You can't assume anything. Give them a chance to sell you FCP or Studio and go demo your camera on their system. You will have concrete evidence of the minimum machine specs and how well you can get your files in and out of the application.
Call you local Mac user group and try to locate other FCP users.
Try also the creativecow.net forums for Sony HD products.
Google your camera model for support groups.
bogiesan

Best color workflow with hdv source material?

Hi,
I am wondering about the best workflow for working with hdv material in color?
My first Color experience, I sent a AIC timeline (hdv source) to color, made my corrections, clicked NO when sending back to fcp when asked if I wanted the rendered timeline to be conformed to color render settings (apple pro-res) as I wanted the same sequence settings back in fcp.
I then tried to off/online back to my source hdv capture files, and therein arose the problems. Because color had renamed the files, the new names came up in the re-connect media window, not the hdv source. When ignoring these and locating the hdv source, the corrections were not attached.
After advice, tried onlining the original, locked edit, opening in color - files came up red (offline?), but could not apply the grades from the previous project anyway, as the whole program crashed before I could do anything?
Thoughts on workflow, theories on what I may have done wrong greatly appreciated.
Lastly, a lot of noise appeared in some clips I adjusted in color, which did not occur when making similar corrections to the same clips using the 3-way color corrector within fcp itself.
How come?
Thanks for listening,
-Tom

Hi Tom, agree 100% with all of JP OWENS comments on this thread. This is very good advice.
Myself, coming from the dark side of a SONY HDV (HVR-Z1P) and DUMPING the SONY for a Panasonic DVCPROHD HVX-200 iFRAME HD format 66mbs and 110Mbs DVCPROHD 4:2:2 CODEC was primarily because when using COLOR on the HDV it was as dreadful as JP OWENS says it is.
As as has been mentioned in this thread, for working with HDV and trying to perform any reasonable grading using color.app you would indeed move it all to  PRORES422 by either:
• ingesting it as proposed from the source as APPLE PRORES 422 or
• ingesting and then BATCH CONVERTING in FCP (or go via a COMPRESSOR.app DROPLET - a favourite of mine) and THEN importing that into FCP.
It gives you these workflow advantages (again pointed out by Mr Owens):
• iFRAME format editing in FCP is "faster" (not GoPs to play with in 25Mbs MPEG2 HDV)) and
• workflow transcoding is faster. (many threads in these forums concerning exporting from an HDV timeline).
However to roughly quote Stu Maschwitz (his DV REBEL book) "+..converting DV to a near loss-less codec is a bit like carrying a golf ball around in a streamer trunk+".. applying this to HDV as well simply meaning that there is also NOT much colour information to work with in grading.correction applications like color.app.
Thus there is NO colour benefit from working in prores 422 from HDV source.
IN short, work in PRORES422 from your HDV source and your workflow will improve and efficiencies will be seen.
hth
w

Need help with FCP workflow

I have a HDV mpeg2 project that uses extensive chromakeying and motion graphics. Should I transcode my native files to prores422 and use a proress timeline in FCP?
If the answer is YES, is mpeg streamclip (freeware) a good program to use for the transcode?

It's really not easy to do chroma keys with HDV material. Transcoding it to ProRes won't add the color information necessary for a clean key that wasn't recorded in the first place. HDV's color space just isn't set up for chroma keys. However graphics and any material NOT HDV may look a bit better if you transcode to ProRes.
That said, there are programs out there to help.
http://www.dvcreators.net/chroma-key-in-hd/ has some included in it.
http://www.dvgarage.com/prod/prod.php?prod=dvmatteb is a Mac program that gets good reviews for keying with consumer formats. Been around a long time I know.
A lot of the success of a clean key is the way it was shot in the first place... You'll find that the keyer in Motion is a bit better than the one that comes with FCP too.
Jerry

Using EX1 and native Long GOP with FCP

Hi,
I have heard it suggested on forums that presently FCP has a preference to convert HDV to prores and that if you want to work with GOP, the files have to be converted to prores in compressor for the workflow?
How does FCP handle native GOP as a workflow rather then converting to prores? I have a Macbook 2.2GHz Intel Core 2 Duo with 4GB ram and am worried that my system will not be fast enough to work with this material?
Also, if I work with native GOP and set the render to prores 442, will this have any effect on the performance on FCP (bearing in mind the speed of my machine)?
Thanks

I have heard it suggested on forums that presently FCP has a preference to convert HDV to prores and that if you want to work with GOP, the files have to be converted to prores in compressor for the workflow?
When capturing from HDV via Firewire you have the option to capture as native HDV, Apple Intermediate Codec (AIC) or Apple ProRes 422. All of these formats are natively supported formats that you can easily work with in FCP. Your post title suggests that you are actually working with an EX1 and so would not be capturing HDV via Firewire. With the EX1 your basic choice would be direct clip transfer via the Sony's Log and Transfer plugin or by using Sony's XDCAM Transfer app, neither of which provide transcode during capture to any other codec. Such captured footage would have to be transcoded after capture, using Compressor or similar, if you wished to work natively in a different format. Alternatively you could use a third party I/O device to capture your footage to another format via the camera's HD-SDI output.
How does FCP handle native GOP as a workflow rather then converting to prores? I have a Macbook 2.2GHz Intel Core 2 Duo with 4GB ram and am worried that my system will not be fast enough to work with this material?
FCP handles working with native HDV easily. With FCP 6 you also have the option of choosing to work with the native HDV and have FCP handle all rendering using the Apple ProRes 422 codec. Another option in FCP is the Open Format Timeline, which like the rendering option above, allows you to edit with the native HDV clips directly in an Apple ProRes 422 timeline. Your MacBook should be fast enough to handle any of the above workflow choices, though my recommendation for you would be to work in a native HDV timeline with renders set to ProRes. That set up would probably provide the maximal performance for your system.
Also, if I work with native GOP and set the render to prores 442, will this have any effect on the performance on FCP (bearing in mind the speed of my machine)?
As noted, that setup should work well.

Compressor 2 with FCP 5.1 workflow

I've been reading about using Compressor 2 with FCP 5.1 and have been a bit surprised by some of the following suggestions:
These are from Larry Jordan's website:
"Compressor 2 has problems with both motion estimation and 2-pass VBR. If you are using Compressor 2 make sure to select 1-pass VBR Better and set Motion Estimate to Better. Using Best settings creates very poor video.
There is a lot of talk on the Apple discussion site that 2 pass VBR gives artifacts, especially on transitions and is generally to be avoided.
To compress the file in Compressor, DON'T use "Export to Compressor" in FCP -- it doesn't work reliably. Instead, open Compressor, then drag the file into Compressor and adjust settings.
In their effort to tackle the problem of overshooting data-rates in C1, Apple seems to have ruined the quality of 2-pass VBR encoding to some degree. I've seen quite a few cases now where 2-pass VBR doesn't look as good as the simple 1-pass.
The new version of Compressor has technology in it that is not duplicated using QuickTime conversion.
I have never been comfortable with exporting using QuickTime Conversion. For one thing, it automatically down-samples your movie to 8-bit. For another, it will not be as good a quality as Sorenson Squeeze for the web, or Compressor for DVD. Third, Apple removed the MPEG-2 compression option with the release of QuickTime 7. Finally, the codecs it contains, while adequate for home use, are not up to professional standards either in terms of file size or image quality."
So, from what I gathered from Larry's website...
Use VBR 1 pass instead of VBR 2 pass for best quality
Use Motion Estimate Better instead of Best
Compressor offers better quality compression than Export>Quicktime Conversion
Don't use Export>For Compressor from FCP, instead export a FCP reference file from Export>Quicktime and use that in Compressor.
What do you think?
Thanks,
Richard
ref:
http://www.larryjordan.biz/articles/ljdvdexport.html
http://www.larryjordan.biz/articles/ljbitrate.html
DUAL G5 2GHZ Mac OS X (10.4.6) 2.5 GIGS RAM

Well, different "experts" with slightly different views.
This from hanumang's response to Jerry Hofmann over in the FCP discussion forum:
FCP unrendered to Compressor 2?
hanumang, have you seen a quality difference using the compressor method?
Jerry
In my experience, yes, there is most definitely a difference in quality.
For sake of completeness, when it comes to exporting for DVDSP, this is how I'd break it down:
File > Export > Using Compressor on unrendered timelines in FCP. The best way to do things with FCP & Compressor - especially true if (as mentioned) you're working in some compressed format like DV and doing lots of filters, motion effect and compositing within FCP. In my experience, color correction comes out much cleaner on DV-sourced footage.
On a 1-10 scale, with 10 being the best that Compressor outputs, this method is a 10
File > Export > Using Compressor on rendered timelines in FCP. While inferior to #1, this tends to work better on high-motion footage that needs to be encoded at a low bit rate (which I'd consider 5 Mbps or lower) than #3 because of the frame-by-frame processing. Also, transitions tend to come out better (again, at lower bit rates).
I'd rate this method a 7 out of 10
File > Export > QuickTime Movie with DVD Studio Pro Markers, then import into Compressor 2. While this rates at the bottom, in many cases it's hard to distinguish the output from #2 & #3 unless you're encoding at a 5 Mbps or lower bit rate
I'd rate this a 6 out of 10
In terms of encoding times, if #3 is my baseline, #2 takes about 2-3x as long. #1 takes about 4-5x as long as #3 for me (depending on the level of complexity).
Dual 1.42 G4, 2GB RAM, 9800 Pro, 20" Cinema; Mac OS X (10.4.6) Final Cut Studio 5.1

What is the Definative answer to JVC HDV 24p compatibility with FCP 5.1

I spoke with JVC yesterday and they claim that the 24p HDV codec is now supported with FCP. I am shooting a PBS piece in two weeks and wonder if it is safe to shoot in 24p HDV with the JVC HD100u. Is there a current state of the craft answer?
Dual G4 Mac OS X (10.3.7) FYI we are getting new G5 for this project

http://www.studiodaily.com/main/news/prc/6436.html ...quote from this link...
Rob Schoeben, Apple's vice president of Applications Product Marketing. "The JVC GY-HD100U works seamlessly with Final Cut Studio today and future 24p support will give independent filmmakers an even more flexible HD workflow"
The article was written April 24th...note the statement "future 24p support"
You might check David Harbsmeier's response in this thread and the following link from that thread as a possible solution.
http://discussions.apple.com/message.jspa?messageID=2307338#2307338
http://discussions.apple.com/message.jspa?messageID=2307338#2307338
K

HDV long format workflow with FCP

Similar Messages

Maybe you are looking for