Avoiding Codec Compression

John Froton

John Froton

Well-known member
Is there any basic good workflow workarounds for avoiding compression or recompression artifacts from DVCPRO HD when working with compositing and editing with effects and titles?

Are there better output options than DVCPRO HD when it comes to establishing a standard format for output and delivery?
 
You just need to use a better quality codec/setting for your sequences. Most professional video cards will provide you an extra bunch you can chose from (depending upon what the card itself can do). Some kind of 10-bit uncompressed for example.

As for the titling and compositing end of things, you can always just do them drop them in at DVC Pro to begin with, but when ready for output just re-render them when you drop all the materials into a higher end timeline. Also, stay away from your NLE for doing such, use specific titling and/or compositing packages. NLE's may be able to 'do the job,' but they tend not to be great at such things.

As for output and delivery, that's up to your broadcaster or distributor. Create your digital file, find out what your end user wants, then take that to a post house and have them dump it onto such. It seems like HDCam is quite the popular choice, at least by contributors to this board (popular in that it is the one people are mentioning in their workflows, not necessarily popular by their own choice).

cheers.
 
If you are working on a Final Cut Pro system, a good option to use is the Uncompressed Codec (10bit). This format is ideal for use with compositing, and provides a clean environment for you to work in and output from.

What are you using to cut? If it is FCP, I will post up details on the required sequence settings.

Cheers

Al
 
I currently have Premiere Pro and After Effects and was thinking of getting Cineform's Aspect HD.

Of course I might want to wait until I get an HVX-200 as well :)
 
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