Good points Shane, I wish I did ingest a PAL and ProRes version straight from the camera, this would have saved me the headache. However the camera I used was hired and unfortunately have already returned it.
I used a Sony HVR-Z7 to shoot this one off job (which the client requested that it be shot on HDV) and has requested two final versions, 1x on Blu Ray & the other on Standard DVD being 16x9.
When I ingested the tape, I followed Chris Poisson's tutorial on transferring HDV tapes to Apple ProRes 422 via the cameras firewire connection. Following the forums guidelines, it is said that this is the best way to edit HDV media.
Just when I thought everything is going smoothly, I hit a hurdle. After dropping the ProRes files on my timeline, I found my editing system to be very choppy when scrubbing through the clips.
After days of research, I've come to realize that my editing system (iMac 2.16 GHz Intel Core 2 Duo with 4GB RAM) really isn't capable of handling Apple's ProRes 422 codec in realtime. I've been told that I'd need a portable video audio I/O Interface box like an AJA Io Express, or a Matrox MXO2 Mini, to handle the ProRes in realtime, especially on my current iMac specs.
The only work around I can think off is to down convert the ProRes files to DV PAL Anamorphic (so that I can comfortably edit the footage) then when I'm ready to master the final edit, I'd re-connect the clips in my sequence back to the ProRes files and encode a Blu Ray and Standard DVD version.
Your advice...?
