Native HDV editing

Is it possible to import other media such as jpegs into a project being edited in native HDV? I am working with FCP 7.0.3, Apple intermediate codec.

Yes. The Apple Intermediate Codec is not native HDV editing. Nor should it be the codec of choice in FCP7.

All the best,

Tom

Yes, native means you import as HDV and cut in a HDV sequence. Personally I much prefer to cut in a Pro Res sequence. But jpegs shouldn't present any problem. The timeline will render them into whatever you're cutting in.

What is the codec of choice for FCP7? I recently got the program and am still figuring it out. Just starting a documentary, shooting with a Sony Z5U. The film is based on a murder case so I will be including stills, news headlines, etc.. What should I shoot in for best results? 1080i60? What codec? Thanks.

ProRes HQ or ProRes, which ever you prefer.



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When you capture HDV in FCP, the default is to capture in Apple HDV and not an intermediate codec.

All the best,

Tom

So the capture preset should be HDV ProRes 422 (HQ)? Will other media -- jpegs, etc. -- become HD when I import them?

This murder case is a bit of cause celeb in the area and I plan on approaching the local PBS station with it. Got permission from the Judge to shoot the trial and want to know best format. Will also put it on DVD and would like to show it at a documentary film fest. Just beginning the project so any/all advice much appreciated.

> Will other media -- jpegs, etc. -- become HD when I import them?

Nothing "becomes" HD. It either is or isn't. If the original JPEG file has enough resolution (pixel count), you'll see all of it in whatever timeline you edit that in. But if the original JPEG is only 1024x768, it won't fill a 1920x1080 timeline and you'd have to do a blowup.


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Right. I meant will it be usable in HD. So the project is mostly interviews, recreations and media. Is there any advantage/disadvantage to shooting 1080i60? ProRes 422 is the best codec for working with HDV, correct? But does it matter how the footage is shot?

The Jpegs will be useable as long as they are big enough to begin with. If they are small, then when you blow them up to fill your screen, they will pixelate, as you are actually blowing up the size of every pixel.

'Best results' is a hard thing to fathom. Some people like one look, others another. If you're capturing in ProRes HQ you'll need a lot of hard drive space. If you have plenty of space, and need to go through a lot of grading or sfx, then go for it, if not, ProRes standard is a better choice.

Thanks for the info, good stuff. Does working in ProRes effect the final product? As mentioned I'd like to shop it to a nearby public broadcaster and there are lots of true crime cable venues. I know HDV is not optimal for broadcast but is there a way to make it "close enough"? And does ProRes vs. ProRes HQ make a difference?

I would get the hell out of HDV ASAP and into ProRes422 1920 X 1080. On a fast Mac Pro 8-core (or even a quadcore at 2.66 or faster) you can smoothly capture and transcode your HDV footage in realtime to ProRes422 at the same dimensions and bit depth (8 bit).

Your storage needs will be roughly 4-5 times higher than an HDV file. But it's an edit codec, not an acquisition codec. You'll have a much better time cutting ProRes. I have yet to require "HQ" flavor of ProRes422 which requires 220 Mb/second as opposed to the "standard" PR at 145 Mb/second. Many report the difference to be indistinguishable.

As for the JPEGs, try to prepare them in Photoshop as a 1920 X 1080 graphic and export them as TIFF's. if you need to zoom in on a section of the still, you'll need to stuff more pixels per inch into the Image Size box. It may soften unacceptably. Try to scan or shoot the highest quality for your needs. Screens are large these days and artifacts show up. JPEG's are full of 'em, especially visible on moves. TIFF's are better behaved.

- Loren
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thanks Loren, excellent tips

Another question. I've shot two interviews so far in 1080i60. Changing my sequence presets and have a number of choices.
Apple ProRes 422 1920x1080 60i 48 kHz
Apple ProRes 422 (Proxy) 1920x1080 60i 48 kHz
Apple ProRes 422 (LT) 1920x1080 60i 48 kHz
Apple ProRes 422 (HQ) 1920x1080 60i 48 kHz.

What's the proper setting?

Any are fine, depending on your needs, except probably proxy. Proxy is for very tight space constraints, and would mean reconnecting to better quality versions of every clip after the cut is complete.

But HQ, SD or LT are all fine. HQ is better is you're getting a lot of colour grading and fx work done but has very large file sizes. SD (standard) is good if you're going to broadcast and not getting a lot of extra work done and has large file sizes. LT is OK for anything down from that and has smaller file sizes.

People have different ideas about what level of quality should be used for what purpose, so feel free to do some tests yourself.