Print HDV to video

Hi, just wanted to see if I'm getting this together right or missing something.

I have been asked by a client to supply a clip in it's uncompressed Raw state, ie copy the clip from the original onto a new tape and send that.

Sequence preset is HDV 1080 60i, Capture preset is HDV and I print to video from the timeline. Is this the correct work-flow/ presets to get the uncompressed footage?

I use the FX7 with no second HDV cam available so linking two together isn't possible and I'd prefer to learn how to accomplish the above.

Any feedback would be greatly appreciated.

Cheers

Richard

Yes, this is the good way. However, please note, that HDV is not uncompressed footage. In fact, it is quite heavily compressed, but if your original material was HDV and the final output is the same HDV, than you may say you give out your raw material (just after editing if any).

To get real uncompressed HD you need special equipment (I/O Card, like the AJA Kona/Xena and appropriate recording device), but I don't think that your client wants the real uncompressed HD...

Yes, this is the good way. However, please note, that HDV is not uncompressed footage. In fact, it is quite heavily compressed, but if your original material was HDV and the final output is the same HDV, than you may say you give out your raw material (just after editing if any).

 

To get real uncompressed HD you need special equipment (I/O Card, like the AJA Kona/Xena and appropriate recording device), but I don't think that your client wants the real uncompressed HD...

Thank you Jules.

another question, would ProRes 422 (HQ) be a better format?

Cheers

Richard

If they are requesting it on a new tape, then it's going to be HDV on the way out, too. You aren't going to want to do anything do it other than dumping it back out as the original format (assuming you aren't applying any filters).

Hi Eric,

yep, they want it as close to the original as possible.

Thanks for the help

Richard

Hi Richard

Yep agree with everyone else. Once it is on the tape it is HDV no matter what you do to it so you can suck it in put it on the timeline and pump it out again as HDV (Print to Video) with no loss of quality. Personally if clients want the best quality possible then I give them the option of ProRes which in my opinion always looks better than HDV even if you are just exporting from original HDV. These days if its a single or just a couple of clips I generally just put it onto a DVD or CD and send them the digital file, rather than using up a tape and worrying about drop outs (just copy the file from Capture Scratch to do that) .

Cheers, Simon

Yeah I would definitely ask them if they want it in ProRes as it would possibly save them a stage. My guess is though they probably just want the tape then they will do whatever they want with it and they have the tape as archive.

The data disk might be a more reliable method, like you say Simon, to avoid any drop outs. I think they are happy with either format though but they don't want a Quicktime file....

All this is by-the-by until they agree on the contract, they want it for a children's education center film.

Thanks for all the feedback

Richard

Richard,

You will see no gains by going to Pro Res HQ or Pro Res 4444. Stick to either SQ or LT.

Steve

... they don't want a Quicktime file....

ProRes IS a Quicktime file. Maybe they are PC-based and want to avoid gamma shift issues etc. in moving Quicktime files between Mac and PC.

Hi, thanks for all the info, been good education.

As it happens the client has changed their minds.......doesn't want the original any longer........

Still.... I learnt something.

Cheers all for your feedback

Richard