Best Workflow

egproductions

egproductions

Veteran
whats the best workflow for quality of lets say DV footage or are they the same:

Convert my DV footage to an uncompressed or less compressed codec, edit in the codecs timeline (CC etc.) and then export back to DV

or

Edit my DV footage in a DV timline, export to an uncompressed or less compressed codec and then convert back to a DV codec.

or

Edit my DV footage in an uncompressed timline without converting it to that codec first and then exporting it to a DV Codec.

My Guess is 1 and 2 are the same results but 3 renders my effects in a DV color space.
 
Stick with the DV project preset and output/export to what ever required for your purposes.

Maintain quality by deselecting "Recompress" if you export a movie.
 
So your saying that if I export from a DV25 timeline to lets say DV50 the effects and color corrections I did in that DV25 timeline are going to be rendered in a DV50 color space?
 
You seem to be proposing bringing DV footage into a DVCPro50 Project Timeline. I do not think you will get any gains and I do not think the Color Space will change for the DV footage. Not sure how you would test the 'color space' apart from a test Chroma Key or maybe a CC.

Try it. (Note - You may have to use Interpret Footage to fix PAR)

I suggested working in a Project as per your source footage to make editing easier... then exporting to what you wanted. I did not realise you were triyng to get a "quality " gain in the process . Its usually not possible. (You can not polish a turd )
 
no, you seem to be misunderstanding me (probably my fault).

I want to edit in a dv25 timeline and then lets say export my footage to a better codec. This way the color corrections that I had applied will be rendered in a broader color space, which won't improve my footage quality, but it will improve banding and other atrifacts do to the limited color space of DV.

It is the same idea as not editing HDV nativley and using a different codec such as Cineform. Not just becasue of improved performance but becasue the footage won't fall apart as fast, since it isn't as compressed.

My question is in order to do this can you just edit in a DV25 or HDV timeline and then export to a DV50 or Cineform Codec or do you have to convert your footage first and then edit in the DV50 or Cineform timeline to yeild teh benefits of the larger color space.

I tried bringing dv footage into a divx timeline (my footage ending up full are compression artificats) I then exporting back to dv to see if my footage actaully took to the divx codec and it reverted back to the dv quality. This leads me to belive that it doesn't matter what color space you are editing in as long as you render out to a better codec your footage will rendered in the color space of the exported codec.
 
Hope fully I have this right.

I dont get the point of trying to change the Color Space AFTER you have done work on a clip in the timeline where you need the clip to have best color space (eg 4:4:4 or 4:4:2) so you can work on it in that space. (eg C.C or Keying a clip)

Rendering rubbish out to a better color space wont turn chicken manure into chicken pie. eg dubbing VHS to D5 wont fix or improve it.

Put another more polite way...if the info aint there in the first place the CODEC can not bring it back. It only works the other way.

BTW: I dont think you have your concept of Online / Offline edits quite right as regards Cineform or your DIVX timeline example. (How does Premiere render a compressed image better than what it has to work with?)

Stick with DV right through the process is my suggestion if thats all you have to workwith.
 
Shooter said:
Hope fully I have this right.

I dont get the point of trying to change the Color Space AFTER you have done work on a clip in the timeline where you need the clip to have best color space (eg 4:4:4 or 4:4:2) so you can work on it in that space. (eg C.C or Keying a clip)

Stick with DV right through the process is my suggestion if thats all you have to workwith.
Click to expand...

That is my question precicley:

I think we both agree that if I were to convert my DV footage to uncompressed and then did my color correction in an uncompressed timeline, I would come out better as compared to doing it in a DV timeline because there is more color space to work with.

I know that if I just dumped my footage into an uncompressed timeline it isn't going to upsample the footage. You are right it won't look any better. The benefits come when you do the color corrections or even apply a simple transition.

What I have doubts about is even the timeline you are editing in has anything to do with the way that exported file is going to look like. You might apply color corrections in a DV project and see compression artifacts but if you export it uncompressed, premiere renders everything to that codec including your color corrections. So your untouched footage won't look any better but the effects applied will have ultimatley rendered in a better color space.

I wish this was simpler to explain but thanks for your interest in helping.
 
I think you should try it to satisfy yourself.

I do not think that you can uncompress the source footage for any gain. It is what it is and the timeline will not alter how you deal with it. The artifact is inherent in the source as is the color info.

I rarely shoot DV now and favour the DVCPro Codecs. (via P2) These give me a 4:2:2 color space and they certainly do make a difference to CC etc even in a Preset DV Project. My assumption is the timeline has nothing to do with it. (Its the source I beieve)
 
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