On the other hand, can we separate 'Origination' (shooting) format from 'Editing' format? Shoot HDV if that's what the job requires, then ingest via HD-SDI (or whatever) to your chosen editing codec.Originally Posted by edbeta
As a FCP editor, I like 720p DVCPro-HD but if I were driving an Avid, I'd prefer DNxHD (actually I'd like that on FCP too). I really don't want to edit HDV.
Right now, I am doing a downconvert from HDV to DVCPro-50 Full Height Anamorphic. Shot on a Z1 against green screen. It's just talking heads, so HDV is WAY better than DVCAM to shoot on. The downsample will put the HDV into a smaller frame yet in a 4:2:2 colour space, and nobody will know it wasn't shot on digibeta.
OTOH, a friend has a Panny HDX200. His medium is Standard Def. He uses the P2/HD options for Special Effects (usually the slow-mo stuff). He didn't buy it for the HD, just the ability to dub HD to DV, and to film SD at 4:2:2. Meanwhile, we editors should just suck up the rushes into our chosen format.
Like chefs - we accept that they shoot it, we cut it up and cook it in our kitchens. Whether your kitchen is Camp Fire, Aga or McDonnalds, it's your choice. The way the footage is shot is up to the DoP. If they choose HDV, we hope they don't whip-pan, don't crash-zoom and don't sue if there's a half-second loss of pictures or sound.
P2 is great for a percentage of filming jobs. In my world, it doesn't work; in my colleague's world, P2 works with a great DV camcorder as temporary storage before commiting to DV tape. For others, they have content shot at 4:2:2, progressive, and at their choice of resolution and frame rate.
HDV is an origination format. Not an editing or delivery format. Remember Kodachrome? Shoot on Kodachrome by all means (don't exect high shutter speeds). Enjoy the portability of a Leica. Capture a moment that a big 5x4 cannot. Yet the photo will be copied to 5x4 for final editing and use.
Shooting format should be divorced from delivery format.