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Thanks, Robin
I had thought I was doing the most sensible workflow for my SD DVD delivery (no tape layoff) - shoot HDV and edit in ProRes 422 PAL timeline.
You may have hit the nail on the head - use Color to sharpen. I hadn't considered this.
Cheers, Crispin
--- In FinalCutPro-
>
> Yes, I'm quite aware of the current, very unfortunate limitation, as I
> said. Although, unless you actually plan to go back to HDV tape, I
> don't understand your workflow. And even IF you are going back out to
> tape, using an ALL PRORES workflow with subsequent master transcoding,
> if needed, to HDV would still be a far easier route in my opinion.
> *Especially* if you need to do any type of grading. Mind you, filter
> settings to an *SD* clip will rarely EVER translate well to an HD
> clip, if that's what you plan to do.
>
> Outside of the actual tape, one should stay as long and far away as
> possible from native HDV in post.
>
> I have no comparison, but I highly doubt that anything mentionable has
> changed in any of the filters. Of course there's really no reason
> (even financially) NOT to upgrade to FCS3 either way, but surely not
> mid-project.
>
> From your chosen workflow I really don't see any optimal way of going
> about it, other than maybe finding a 3rd party for FCP, yes. Possibly
> Magic Bullet? And although worth it, it costs $399.00.
>
> Have you tried COLOR? The roundtripping should (ironcally) be better
> than Motion's for what you have and I think it's safe to say that IT'S
> sharpen is better than FCP's, if not in fact better than Motion's also.
>
> Either way, I'd say your first step is to go (and stay) *full-res
> ProRes*.
>
> cheers,
> RK
>
>
>
> On 19.10.2009, at 15:48, hllndc wrote:
>
> > Thanks for your replies, Robin
> >
> > The reason that I am asking is twofold:
> >
> > 1. As I am editing HDV 1080i50 in a ProRes 422 SD project I am
> > trying to ensure that any sharpening is done on the HDV file (rather
> > than a downsampled SD one).
> > 2. Also, Sending to Motion is not implemented properly in that not
> > only are any moves in the FCP motion tab lost, but also a clip is
> > only 'sent' to Motion WITHOUT any material inside dissolves, meaning
> > that all dissolves need to be removed prior to sending and then
> > rebuilt afterwards. Hence my desire to stay within FCP (especially
> > if FCP7 has a better Sharpening filter than FCP6 - someone must know
> > this). I have about 70 of these shots.
>
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