More nitty gritty fromt the Creative Cow on using ProRes 422. Here's my big takeaway:
PPPS. Just so there's no question here: most (but not all) of you are certain that native HDV capture is the way to go. Skip AIC. Skip DVCPRO HD. Just render to ProRes.
PPPPS. Of course, some of this changes once we add a little Color.
So basically if you have HDV footage you can capture it as HDV over firewire, and don't need to think about how you would transcode it to ProRes or rig your system to capture it to ProRess, which you can't do while capturing over firewire. Capture to HDV, but render in the timeline to ProRes 422.
Apparently sending HDV to Color and then rendering back to ProRes is totally screwed up. All your clips get out of sync. Seems like Apple didn't put the kind of quality control into Color as they do FCP before releasing.
Also an interesting note about removing pulldown on 24p footage, as an update to my previous post. Compressor 3 has a smart pulldown remover where you don't have to worry about the cadence of the pulldown. The downside is that you lose timecode.
And the article says that capturing to standard-def ProRes 422 is OK on a Quad G5. But for HD ProRes you need at least a quad-core Intel.
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