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Originally Posted by David Beisner
Right now I'm trying to convince my company that DVCProHD is better than HDV because it uses a higher bitrate, has better chroma subsampling, and the P2 workflow is just plain sweet.
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Have you looked at the archiving issue with P2? *Every* format has hidden costs.
Quote:
Originally Posted by David Beisner
But they still want to try to find a cheaper camera--something along the lines of the Canon XH-A1 or equivalent. But those use the HDV codec which, I've learned from my research, is a pain to work with. Am I right about that?
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Not right or wrong, just not informed. I recently completed a one-hour documentary drawing from 1.5 TB of source HDV material, and it was a breeze to work with in FCP.
Quote:
Originally Posted by David Beisner
And if so, what's the best way to convince my superiors that we need to go with DVCProHD (specifically the HVX200A) over an HDV camcorder?
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Show them glossy promotional materials and hope that they are susceptible to marketing hype?
Quote:
Originally Posted by David Beisner
And if I'm wrong, please explain to me how I'm wrong and why HDV is better. Storage space is not an issue.
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The P2 vs HDV/this vs. that debate has been going around in circles for several years now and always comes back to the same place- let your priorities make the call. I have used both the Panasonic/HVX and Canon/HDV workflow on short form and long form, creative, commercial and broadcast projects and I can tell you one is not better than the other- they are different. All you need to do is educate yourself about those differences, and the buying decision will become easier for you.