Frage von teschem:
Dear people, sorry, but if this is already somewhere, I surfed over 1 hours and did not become a smart, here I added some extensive beginner questions:
I have to HDV rotated (; 1080 i), 25 Mbps, as would result in no more than high quality 1 DVD, 2 to provide INternet, 3 I may have the opportunity to offer for TV or film festivals in the format if that's possible. The DVD will look good on digital projectors. I have now very different and confusing information from the Apple Store:
1. When should I invite hochcodieren via ProRes 442 HQ mbit to 50, which would then be suitable for television - it makes sense, if only with added mbit 25? Is it an advantage or disadvantage if I have to runtercodieren later for DVD o. internet again? What codec you would (recommend me, there are indeed synonymous eg 444, ProRes have no alpha channel, I would need sowas ?...)? Apple Intermediate enough? Is there any chance fernseh-/kinotaugliches material here rauszuholen? With what?
2. HDV would transfer timecode generally not reliable, even if I got my timecode from tape could be easily communicated to Final Cut, (re-import it when, in a professional post production facility as the plays off the whole thing a me-and in superior quality always) time-code shifts by 1-2 pictures or give more, so that was a cut off at high risk. How do you think? Can not be cut off HDV material offline and what would be reliable (note here, start-stop detection I've read, what else?)?
3. The Apple-man said, a DVD, I would raffle with Final Cut Pro hinbekommen not properly anyway, but I would have to hire a company synonymous. Exactly so Final Cut Pro 7, however, advertises "DVD compilation: lunged commercial movies" - is this nonsense? What do I need to adjust so that I manage this "mature" quality?
If I could instruct a company: In what format do I have to cut and play for this to work? (; and for me it is only relevant to the preset times, that I nothing to acidification).
4. When loading with ProRes 442, I have no log function in Final Cut Pro with my camera. Has anyone experience with it - is the subsequent subdivision and labeling of subclips possible for virtually any other problem in the further processing?
Many Thanks !!!!!!
Antwort von Jott:
Les times the Final Cut Pro manual. Because your answers are in there in all its glory - even a Pro / Contra Reflection Relating to ProRes detour yes or no. You discover, for example, the function of the ProRes rendering when working with native HDV, and when you activate it.
The problems with the time code is a myth, if the equipment is operated properly (which does not dominate the majority hold, therefore) the story, and a decent DVD playout - giggle - lies with Final Cut Pro Studio already synonymous drin ...
Antwort von teschem:
Thank you for your answer! I had the Final Cut Pro manual yet, because I was not yet clear whether me about this brings an advantage over fc express, but apparently, yes, if it works with the DVD, right? I'll see what I can rauslesen there, thank you. One more question about your answer to the Time Code: What would happen then the "proper handling" - yes I certainly not mastered?
Antwort von Jott:
The manual you said, is built into the software ". Printed halt nicer to read.
Proper camera operation: a wide field. Core: rotate without time code jumps or dropouts on the tape. As with any tape format, since it is time code and video technology. Know-how in recent decades.
The HC1 is the way, probably the worst quality camera that was ever built in the HDV format. So you do not have too many worries about the best codec in the world ...
Antwort von teschem:
Thanks
Antwort von Axel:
HDV is better SD. It is perfectly suited for DVD production. FCS is also excellent for DVD production. To that extent, "the Apple-man" nonsense talk. As you have indicated quite correctly, is all a question of the right workflow. Direct recording of HDV with Final Cut Pro is, as regards time code, possible asynchronicities by TC breaks etc, absolutely foolproof: When capturing is to start / stop automatically creates a new clip on the Gop hang out frames (<1 sec) be ignored. If you'd like, you could try to HDV, and Premiere, the search function and find out that you have unearned luck with Final Cut Pro.
If your material is to be little changed, is the fastest way to the DVD: When capturing HDV, HDV cut than to walk in Mpeg2 SD zag.
Will you also be a DVD, but want to change (a lot here, especially in motion or color) you should already gecapturete with HDV Compressor to convert ProRes422 or ProRes422HQ (the direct capturing as ProRes is possible, but lack of sufficient experience with it I'll let time away). You can synonymous, as suggested above, to simplify the ProRes timeline, and thus render it. It's all a question of workflow. Both codecs - ProRes and roResHQ - are regarded as "visually lossless", but it could be that you
see on the first try just ugly artifacts that appear in the original were not there and not synonymous with the AppleIntermediateCodec (4:2:0). Apparently, because they were still there. It covers digital sharpening ( "Kantenaufsteilung") and saturation and clipping. For ProRes you need a neutral picture. At this point you're either a little overwhelmed offing s.oder you mean it seriously. If you really mean it, do a test that will show you better what the whole dance is good:
%Ï Do with the "pretty picture" - settings of your camcorder with a brief Testclip Motion and Color (Clip "A").
%Ï sink saturation in-camera slightly below "normal" (in about 35 percent, to camcorders, there are various settings in the neutral network for the XH-A1 as "True Color"), turn Sharpness is completely gone and the deviations and the fact that bright spots not clipping (Zebra function to use), but not synonymous dark places (if necessary: with reflector illuminate). The clip is "B".
%Ï A clip would leave in HDV. The task is to make the blue shirt, which bears the guy with color correction to a pale pink shirt. Everything else will remain the same.
%Ï Clip B walk to ProResHQ. Now: Same requirement. In addition, of course you then need to increase the overall saturation a bit.
Capability to television, I can not say anything. I myself consider HDV only with some restrictions as HD. The 1.4 k appears in reality to be rather a 720p, so unreservedly for Vimeo HD recommended.
For the cinema, I can say something more fit. It is even more synonymous gefazt SD material to 35mm film. Because of the content. For aesthetically s.vielen video score is always good to recognize, and the slightest problem with this is the
resolution. 35mm is dying out, as you s.end
this not progressive and does not have 24 B / s? Well, that can later change everything. What you can not be changed: It will never look as brilliant as the avatar that will then run here. On the other hand: it could almost look like the slightly muddy Doctor Parnassus, the door rattled analogous to herself ...
Antwort von Jott:
Good taken together - only with the 1.4 k is somewhat misleading, synonymous with HDCAM works anamorph 1.4 n.Hatte years, hardly anyone noticed. You can, for example, synonymous with an EX1 XDCAM HD, or the major record HDV camcorders - looks better, at worlds, as what comes out of a HC1 or synonymous Z1. Looks like HDV, which primarily determines the camera, which is drumrum built.
