>>I think HDV will get clobbered in
>>the marketplace once better formats appear,
Seth,
It depends on which marketplace you're referring to. Plenty of mid- and
small-market companies will be called upon to work with and deliver on
HDV when their know-it-all clients (or owners) will hear the buzz and
buy a camera. There is only so much client (and owner) education we can
force upon those people before something snaps.
I agree with you on using native HDV for filmout. Yuck.
____________________________
John Heiser
Avid DS Editor
o2ideas
Birmingham, Alabama, USA
-----Original Message-----
From: owner-ds(at)Softimage.COM [mailto:owner-ds(at)Softimage.COM] On Behalf
Of Seth Isaac Buncher
Sent: Tuesday, July 26, 2005 9:33 PM
To: DS(at)Softimage.COM
Subject: Re: Argument against native HDV
Hi Tom,
I haven't got a fully formed opinion of whether DS should have native
HDV or
not. I lean towards 'not' mainly because I think HDV will get clobbered
in
the marketplace once better formats appear, which should be quite soon.
But
using HDV as a digital intermediate format has got to be the craziest
workflow choice that I've heard in ages. And grading a theatrical
release
in After Effects? <<shudders>>
Regards,
Seth Isaac Buncher
>From: Tom Edwards <tdcone(at)bellsouth.net>
>Reply-To: DS(at)Softimage.COM
>To: DS(at)Softimage.COM
>Subject: Re: Argument against native HDV
>Date: Tue, 26 Jul 2005 21:01:06 -0500
>
>I think a lot has to do with what format all the source material you
are
>dealing with is, and what the final distribution/delivery format is
going
>to be.
>Here's a real world example....
>There was an independent film shot called "Dust To Glory"
>see info at:
http://www.adobe.com/products/premiere/dusttoglory/main.html
>Is the movie any good? - don't know haven't seen it, but I have spoken
>with the on-line editor, Jacob Rosenberg about it.
>This film was shot on:
>16mm film negative
>Super 16mm film negative
>35mm film negative
>HDCam
>Digital BetaCam
>Mini-DV
>VHS - archival footage
>
>The film was to be a theatrical release on film. They chose to transfer
all
>the formats to a digital intermediate format (HDV) off-line edit on an
Avid
>Film Composer and an Avid DV Xpress system and online the edit using
>Premiere Pro. They used CineForm to convert all the media files. Color
>correction was done in After Effects using Color Finesse only due to
>Premiere Pro not having Color Finesse available in the app at the time
of
>the edit - it does now. The final HDV film was transferred to film.
>I am not suggesting that this would work in every instance, but it
pointed
>out that both source and destination formats enter into the equation.
>
>Interesting reading if you get a chance.
>
>Tom Edwards
>MTV Networks
>
>
>
>
>
>Quinsee-Jover wrote:
>
>>Hiyas,
>>
>>We all know we need HDV support. And when do we want it?... yeah,
yeah...
>>
>>I've argued for a long time that editing native HDV didn't make a lot
of
>>sense to me - not unless you were going to end up laying back to HDV.
So,
>>more logically, you'd convert on import to whatever your destination
>>format is. That's what makes sense to my little brain.
>>
>>Reading on a few FCP lists recently it appears that folks who already
have
>>the ability to edit native prefer to convert to some form of
intermediate
>>codec for the same reasons. Plus, as one FCP editor put it "Native
HDV is
>>nice but the biggest downside to it is that when you go to do a render
or
>>export the final build it takes forever for the computer to convert
i,b,p
>>frames into the new i,b,p frames."
>>
>>So, does anybody want to take up the gauntlet and argue FOR staying
>>native?
>>
>>I don't have any problem here, I'm just interested in seeing if there
are
>>any overwhelming arguments for or against.
>>
>>Cheers,
>>Tone :)
>>
>>t +44 (0)121 224 7555
>>f +44 (0)121 224 7557
>>http://www.hdheaven.co.uk <http://www.hdheaven.co.uk/>
>
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