DV-25, DV-50 and DV-100. How do I set the workflow?

Geno

Geno

Active member
I started my documentary by shooting with a DVX and an anamorphic adapter. Looked great but when we had a chance to upgrade to an HVX we did. Been shooting 720/24pn and now have an equal amount of both. The project is slated for a DVD distribution although I wouldn't rule out a theatrical distribution. I would like to make a 24p DVD so I would have to remove the pulldown on the 24/pn DVX footage and then bring in to FCP and change the size from 480 to 720. But the first question is. What is the difference between 24p and 23.98? When I conform to 23.98 I have to render, not with 24p.
The second and more important question is, If I go to DVD I would assume that I should finish in a DVCPRO-50 timeline. But that would cause me to have to render every clip I put in there as opposed to half of them in a native 720 timeline. I also would not get a preview out of my projector (Please don't chime in about how I shouldn't edit on a projector, this one is the shiznit) As the projector needs a 1280x720 feed and looks incredible. I'm using Cinema Desktop Preview to achieve this. If I edit this film in 720 with all the workflow benefits, how do I get this in to a DVCPRO-50 timeline without sending the DVX footage through an extra process from 480-720-480 again? Also DVCPRO-50 presets seem to be 23.98 bringing up the 23.98 or 24p confusion again. I know I should run some tests but I'm also sure someone has come across this before and has a simple answer. Thanks for reading this long winded question.
 
Why would do the DVCPro50 step? Why can't you take your DVCProHD timeline and use Compressor to make the SD MPEG2 file?

-A
 
The concern is that weather it's done in Compressor or FCP, taking SD to HD and back to SD would jump the footage through too many hoops thus degrading it too much. I'm looking for a way to edit everything together without forcing an up-rez and down-rez of the SD. Or does the up-rez and then down-rez just tell FCP to re-vert the SD back to original form, or does it re-process the (guessed) pixels of the up-rez? Maybe I can just copy all SD clips in the timeline and paste them in a 50 timeline but that can be problematic as well with clips being combined and transitions and such. I'll have to run some test's.
 
Okay, I see what you are saying now. AFAIK FCP will just render the clip to match the timeline. So when you drop your DV clip into the HD timeline FCP will make an HD render of that DV source clip and if you copy and paste your HD sequence into the DVCPro50 timeline FCP will make a DVCPro50 render of that DV source clip (it will ignore the render file for the HD sequence). Now, if you exported the DVCProHD timeline as a QT and imported that into a DVCPro50 project then the DV portion would go from DV->HD-DVCPro50.

What I have no idea about how exactly Compressor works in this regard. If you go directly from the HD timeline to Compressor I don't know if Compressor will go back to the source files or not as it encodes. If Compressor references the source files then you wouldn't need the DVCPro 50 step, but if Compressor references the render files then the DV footage will go DV->HD->MPEG2.


-A
 
Thanks for the kind advice adkimery. I'm running some tests right now although Compressor is acting very tweaky, always has. What you say about FCP ignoring the HD uprez when I copy the SD-uprez-to-HD clips into a DVCPro-50 timeline is encouraging. I'll post my results in the next couple of days.
 
You must log in or register to reply here.
Back
Top