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Importing 1080/30p over 60i footage in PP CS5
A friend of mine is considering a Panasonic AG-HMC40 camera which records it’s 1080 30P in a 60i format. When importing this footage into Premiere CS5, there is no option for this 1080/30P over 60i format. Do you just use 1080 30P as the import format, or do you have to use the 1080 60i import format? Ultimately we would want 1080 30P as the desired final format, so logically we would assume 1080 30P as the import setting. However this sometimes can create any number of field and/or sync complications, depending on how “smart” (or not) PP is about the footage it’s importing. Thanks for any info on this.
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2 Replies
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I don’t have a Panasopnic. But there is a 16 page document at Adobe on workflow for Pansonic, including imports, Prelude, Premiere Pro, etc:
https://www.adobe.com/content/dam/Adobe/en/products/premiere/cs6/pdfs/adobe-premiere-pro-cs6-p2.pdf
I know there are a ton of presets in Prelude for injest, log, and transcode for specific platforms.
I see this in the above linked doc as settings for Premiere Pro, I am not sure if it is exactly what you are talking about. It would seem to indicate that you use 108060i at import. I assume you wold then switch to 1080p30 at export:
AVC-Intra 1080i/p
The Presets for 1080 material are split between 1080i and 1080p. As there is no 60p or 50p recording in 1080 mode, the only 60 Hz and 50 Hz presets are for 60i and 50i.
All available frame rates for 1080i in both AVC-Intra 100 and AVC-Intra 50 are in the 1080i folder.
Choose your preset according to the bitrate and frame rate of your footage.
1. AVC-Intra 100
For 1080/60i footage, choose AVC-I 100 1080i60
For 1080/30p footage, choose AVC-I 1080p30
Good luck!
Michael -
Thanks for the info, I’ll check it out, even though it’s for CS6, not CS5. My only concerns about the import settings would be with maintaining proper field order and audio sync so when rendering out to true 1080p 30 the proper fields are being used to render a progressive frame, and sync maintained. Due to the nature of h.264 it’s always a lose/lose scenario because all your footage is re-rendered, unlike the old SD MiniDV codec that only rendered altered data. As long as the proper frame field order and audio sync is maintained, it should be no different than importing (and thus ultimately exporting when the project is done) true 1080p 30.
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