HDV editing using Avid’s Liquid 7.1, Part 2
Digital Content Producer by Steve Mullen
In the last installment, I asked “What would it mean to your HDV editing workflow if you could insert multiple video formats into a Timeline?†We then began to examine this question by looking at Avid’s Liquid 7.1. I remarked that I created two HDV sequences using Liquid. One sequence was created as HDV 720p30 and the other sequence was created as HDV 1080i60. The 720p30 sequence contained 720p30, 720p24, 1080i60, 16:9 DV, 4:3 DV, and QCIF MPEG-1. The 1080i60 sequence began with multiple Sony Z1 clips followed by the entire 720p sequence. I had simply dragged the 720p sequence from Liquid’s Sequence Rack (Bin) into the 1080i sequence. In this installment, we will look at how I acquired the various source material used in these sequences. I captured, via FireWire, the 720p30, 480p60, 1080i60, 4:3 DV, and 16:9 DV. The QCIF MPEG-1 was imported from a file transferred from my cellphone, and the 720p24 was located on a Focus DR-HD100 hard drive. read more...
In the last installment, I asked “What would it mean to your HDV editing workflow if you could insert multiple video formats into a Timeline?†We then began to examine this question by looking at Avid’s Liquid 7.1. I remarked that I created two HDV sequences using Liquid. One sequence was created as HDV 720p30 and the other sequence was created as HDV 1080i60. The 720p30 sequence contained 720p30, 720p24, 1080i60, 16:9 DV, 4:3 DV, and QCIF MPEG-1. The 1080i60 sequence began with multiple Sony Z1 clips followed by the entire 720p sequence. I had simply dragged the 720p sequence from Liquid’s Sequence Rack (Bin) into the 1080i sequence. In this installment, we will look at how I acquired the various source material used in these sequences. I captured, via FireWire, the 720p30, 480p60, 1080i60, 4:3 DV, and 16:9 DV. The QCIF MPEG-1 was imported from a file transferred from my cellphone, and the 720p24 was located on a Focus DR-HD100 hard drive. read more...
Leave a comment