-
Multiple frame rate / aspect ratio workflow?
I’m working on a project with two editors in FCP 7. We’re getting footage from a number of sources, and frame rates vary, as do aspect ratios, etc. What is the best, most streamlined off-line workflow in this scenario? The majority of our footage is PAL, 25fps, and 1920 x 1080. I’ve been transcoding to Prores Proxy. This is what I’ve put into the Audio/Video Settings (since it’s not available in Easy Setup). Anyway, I’m still having to render for other footage that we get from online, etc.
My question is: should I convert everything to the same framerate, and aspect ratio (if the latter is possible?)? Will this be best for offline? And if so, will it cause headaches when we go to online and go back to source footage with different timecodes, etc.
I realize this is a mess of an issue, so please feel free to point me towards other reading/tutorials, anything, that might help me resolve this.
Thank you.
-
4 Replies
-
John,
This is a classic example of a horrible project for an offline/online scenario. With hard drives so very inexpensive now, why would you even consider a “do-over?”
It’s not easy mixing different frame rates, different fields, and different pixel dimensions the first time around… Trying to redo everything properly at a higher resolution the second time around is often ridiculously complicated, incredibly tedious, and a great way to lose perfect cuts that you may have initially slaved over.
And yes, the best way to approach any editorial situation with a mixture of formats is to try your best to transcode everything to a single uniform format if possible. In fact, it is the only way that makes it possible to do truly seamless conformation from low-res to high-res, should you go ahead with your offline to online workflow.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
-
Thanks David.
So I should simply transcode everything to, for example, Prores 4444, 25 fps, 1920 x 1080, and so on so that it’s all the same and there’s no need to go from offline to online later, as we’ll be cutting online footage?
-
No! ProRes 4444 is way too much. Just because it is the biggest version, doesn’t mean it is the best for your workflow. In fact, it can be a detriment. Ultra large file sizes with zero quality benefit over ProRes 422. It is meant for a specific purpose.
Read up on the codecs and see in what cases they are to be used. Don’t just assume the biggest means the best.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
I think I agree with Shane, but what is your ultimate destination/goal for this project John? There could conceivably be a good reason for going with ProRes 4444, but it’s probably unlikely that you would require it.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
Reply to this Discussion! Login or Sign Up