|
|
All the news now and in your digital future
hd conversion
Posted by cristinabocchialini
|
Re: hd conversion July 13, 2009 05:44AM |
Hi Cristina,
The format depends on what format you are predominantly working with for the rest of the program and what your delivery format is.
Why Mpeg Streamclip? Does the footage originate from DVD or some web format? If you do not have a lot of footage, you could uprez it with Compressor. To do that, basically export to Uncompressed PAL, then run that in Compressor and select "best" for resizing.
www.strypesinpost.com
The format depends on what format you are predominantly working with for the rest of the program and what your delivery format is.
Why Mpeg Streamclip? Does the footage originate from DVD or some web format? If you do not have a lot of footage, you could uprez it with Compressor. To do that, basically export to Uncompressed PAL, then run that in Compressor and select "best" for resizing.
www.strypesinpost.com
|
Re: hd conversion July 15, 2009 12:08PM |
Ah. HDV. Well, I WON'T advise uprezzing to HDV, but rather, uprez to ProRes, same frame size (should be 1440x1080 for HDV 1080), and same frame rate as what you are working on. And when you're done with your cut, render it out everything as ProRes.
*This is of course, only if you are NOT going out to HDV tape.
www.strypesinpost.com
*This is of course, only if you are NOT going out to HDV tape.
www.strypesinpost.com
|
Re: hd conversion July 15, 2009 12:15PM |
No, do that even if you are going back to HDV tape.
Laying off to HDV tape imposes a compression hit; it's unavoidable. Final Cut calls it "conforming," even though that word already means two other things, thanks a lot, Apple, but what it really is is decoding all your frames and re-encoding them into the proper GOP structure. Note that this even applies if your media on your timeline is already in HDV format. So laying off to HDV tape always counts as one compression hit, and you can't get around that if HDV is your delivery format.
If you convert another format to HDV before bringing it into Final Cut, that's another compression hit. You take footage from some other format (which may or may not already be compressed) and convert it to HDV (hit one), then bring it in to Final Cut and lay it off to tape (hit two).
On the other hand, if you convert to another format instead, say an uncompressed format or a first-generation-transparent format like ProRes, then you don't have to impose two HDV compression hits. You only hit your footage once, when you lay it off to tape.
Basically the rule of thumb is that you should never convert any footage to HDV format.
Laying off to HDV tape imposes a compression hit; it's unavoidable. Final Cut calls it "conforming," even though that word already means two other things, thanks a lot, Apple, but what it really is is decoding all your frames and re-encoding them into the proper GOP structure. Note that this even applies if your media on your timeline is already in HDV format. So laying off to HDV tape always counts as one compression hit, and you can't get around that if HDV is your delivery format.
If you convert another format to HDV before bringing it into Final Cut, that's another compression hit. You take footage from some other format (which may or may not already be compressed) and convert it to HDV (hit one), then bring it in to Final Cut and lay it off to tape (hit two).
On the other hand, if you convert to another format instead, say an uncompressed format or a first-generation-transparent format like ProRes, then you don't have to impose two HDV compression hits. You only hit your footage once, when you lay it off to tape.
Basically the rule of thumb is that you should never convert any footage to HDV format.
Sorry, you do not have permission to post/reply in this forum.
