DVC Pro50 for Web?

S

srfjm

Active member
Does anyone have experience compressing DVC Pro50 for web use? Does the quality come out better in the end if you just shoot regular old DV25?

Thanks for any insight. We're about to shoot some corporate stuff that we want high quality on, but it is for a website.
 
stick to DV25....you're compressing it so much you won't see any difference anyway.
and you won't have to worry about trying to view DV50 over standard firewire device or camera while you edit.
 
I had the same thoughts as both of you guys... I like the colorspace advantage, especially since we'll be doing some blue screen work... but all that extra compression can't be good.
 
srfjm said:
Does anyone have experience compressing DVC Pro50 for web use? Does the quality come out better in the end if you just shoot regular old DV25?
Click to expand...


I would go with the simplest work flow, m'self...
Chances are people visiting a web site will not notice, or appreciate the difference.
Also by going with the easiest/quickest workflow there is the potential to save the client money, something they may appreciate more than a color space difference that (IMHO) will be negligible by the time the project reaches the web.

Also I think the final format that ends up on the web is going to have more of an impact on quality than the capture format.

just my naive two bits ;)
 
mgoff said:
I would go with the simplest work flow, m'self...
Chances are people visiting a web site will not notice, or appreciate the difference.
Also by going with the easiest/quickest workflow there is the potential to save the client money, something they may appreciate more than a color space difference that (IMHO) will be negligible by the time the project reaches the web.

Also I think the final format that ends up on the web is going to have more of an impact on quality than the capture format.

just my naive two bits ;)
Click to expand...

I disagree. If it is for corporate and they want hi quality, there is the possibility they will want a DVD later. You want to start with the HIGHEST quality you can, and then distribute from there. And that is DVCPro50 in SD.
 
if you're doing blue screen, you'll definitely want 50. using 4:1:1 and pulling a key will make things harder than it needs to be. i had a client who wanted to use dv25 for a green screen project and i told them to use 50 because of the colorspace. they're paying and wanted 25 so 25 it was. long story short, they came back and, at the after effects artist's request, we shot at 50.

good luck whatever way you go.
 
thanks for all the thoughts... we'll definitely go 50 for the chroma key stuff, and will probably just be consistent throughout.

Any ideas on the compression methodology? not specific codecs, but would it make sense to shoot in 50 and do an in camera conversion to tape or anything like that? I'm just concerned about all the compression at the end of the process to get the 50 down to a reasonable size for the web.
 
Most definitely go DVCPRO50 for chroma key work. I just upgraded to an HVX specifically because just about all of my use for the camera is green screen work to be distributed on both the web and DVD. Trust me, trying to pull keys from 4:1:1 footage is no fun. Pulling a key from DVCPRO50 is a pleasure! And the results are outstanding, more than enough for top-quality DVD distribution.
 
The compression wount make that much difference in theory, but if you can afford it go for dvcpro 50 for different reasons(mentioned above..), i d definitly do it, bacause the better colour room will give you a better result in the end, IMHO it looks better then starting on 25...!
 
thanks guys... dvcpro50 it is. I've done pretty good chroma keys with dv25, but only through good lighting. I'll look forward to the added benefits of the 50!
 
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