puredrifting
Major Contributor
Hi all:
We have three of the HVX-200s and have been happily shooting away in 720 24PN for about a month now. Great camera, love the footage.
But if we are off-lining DV on Mac-based XPress Pro systems and on-lining on an Avid Nitris Symphony, what should our workflow be to use the 24 frame progressive footage in NTSC 60i and 1080i projects? I have been disappointed to discover that our new $90,000.00 AVID cannot handle or convert 720 24PN footage into interlaced 30 frame timelines. The problem is, we are shooting HD right now for both NTSC and HD projects and our clients seem to require 1080i masters.
We are getting around the NTSC problem by using the DV conversions I do in-camera for the NTSC projects but it seems kind of lame to use the DV25 codec when I am sure that downconverted 4:2:2 HD would look a lot better in 601 colorspace.
As far as the 1080i issue, I know that we can buy a Teranex or Snell & Wilcox up/down/cross convertor box but then we lose all of the advantages of the P2 workflow since we would have to bring the footage into the AVID to a 720P timeline, run it out in real time to an HDCAM deck, then bring that tape back in to a 1080i timeline? Lame workflow, no practical.
I am more of a Final Cut user and I am not the editor on our Symphony, but it seems that our new $90,000.00 AVID is fairly bullied when it comes to dealding with and transcoding and working with 720 24P footage for our delivery needs.
Any advice or people in the same boat?
Dan
We have three of the HVX-200s and have been happily shooting away in 720 24PN for about a month now. Great camera, love the footage.
But if we are off-lining DV on Mac-based XPress Pro systems and on-lining on an Avid Nitris Symphony, what should our workflow be to use the 24 frame progressive footage in NTSC 60i and 1080i projects? I have been disappointed to discover that our new $90,000.00 AVID cannot handle or convert 720 24PN footage into interlaced 30 frame timelines. The problem is, we are shooting HD right now for both NTSC and HD projects and our clients seem to require 1080i masters.
We are getting around the NTSC problem by using the DV conversions I do in-camera for the NTSC projects but it seems kind of lame to use the DV25 codec when I am sure that downconverted 4:2:2 HD would look a lot better in 601 colorspace.
As far as the 1080i issue, I know that we can buy a Teranex or Snell & Wilcox up/down/cross convertor box but then we lose all of the advantages of the P2 workflow since we would have to bring the footage into the AVID to a 720P timeline, run it out in real time to an HDCAM deck, then bring that tape back in to a 1080i timeline? Lame workflow, no practical.
I am more of a Final Cut user and I am not the editor on our Symphony, but it seems that our new $90,000.00 AVID is fairly bullied when it comes to dealding with and transcoding and working with 720 24P footage for our delivery needs.
Any advice or people in the same boat?
Dan