Firstly I am completely new at this HDV game and since I have one of those fated V1E Sony jobbies, I was wondering if the following would give the same results as shooting in 25p mode.
OK here goes, shoot in 50i capture into FCP and edit accordingly then export back to the camera (which is nice and quick) final footage. Then use HD Connect to import using the de interlace and 25p to 24p converter to end up with 24p or 25p footage minus any in camera glitches.

Well I have probably caused a great laugh out there but I have noticed for quick playback options I have exported my finished material back to th camera so I can take it along to varous peoples houses and either play in HDV if they have the kit or just regular composite no real rendering times needed. But then if a 25/24p version was needed use the HD Connect on the finished material. ????? BTW I have a little HC3 for this.

Steve

If I understand corectly what you did, the HDV compression will affect the picture quality twice in this case.

There is no point in rendering for the print back to tape. CineForm can import the file straight from the HDD...But as Zsolt points out, you'll be recompressing the tape twice. You're MUCH better off importing using the CineForm codec to begin with, and working from there.

Not to mention you are generating interlaced video and not progressive, meaning you are wasting your processing capabilities to deinterlace it later, knowing you can do it natively on the cam....

OK thanks all,
I have one more question would there be any real difference if I shot 50i and converted it to 25p after it was edited, over shooting 25p onboard, I understand Federico's comments but would there be any real difference in the final look. I have noticed that shooting in 25p has to have more of a controlled handling of the camera where 50i can be more rough. Sorry of this all sounds so very basic.

would there be any real difference if I shot 50i and converted it to 25p after it was edited, over shooting 25p onboard

This is an interesting question in the light of V1E progressive flaw. 50i is fine so far for PQ, does it make sense to produce 25p from that in the post?
What is the visual difference between 50i > 25p vs "native" 25p (lets take 25p as flawless in this theoretical case)?

This might involve more processing and time but would provide a workaround for V1E users.

Zsolt,

Thanks for the comments, Like I said I am very new to all this and have a bit of time on my hands before I shoot my first short film, I am waiting on my SGPro and cant wait to get started on my project. But I would like to iron out any miss conceptions I may have with HDV and "That Film Look" scenario first, if I can, esspecially as my Cam may have a problem with 25p native recording.