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Apple ProRes HQ to Uncompressed QT
Hello.
I have just finished cutting a feature film in FCP using ProRes 422 (HQ) media. The media came from set via an AJA converter box, from a Sony F3 camera.
I would like to conform to uncompressed HD for the online/grade and Film out.
Although the media has been logged and renamed in FCP, the ‘match file name to clip’ was NOT used. All media links back to AJA ProRes HQ footage (File name EG. Clip1ATK352 etc).
BUT
If i want to go back to the card source BPAV files (MP4) from the Sony F3, then the naming convention differs. Aside from renaming all in the finder, can anyone suggest an alternative.
Surely I need to convert from here to create the Uncompressed HD files to link back to.
Can anyone suggest a workflow, I know it’s going to be a long one but I’d hate to start out on the trek only to find there’s a simpler way.
Any recommendations hugely welcome and appreciated!!
Cheers,
Mandy -
7 Replies
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Just a thought, have you investigated whether it’s worth going back to the XDCam footage?
Michael Cheung
https://filmcutter.blogspot.com -
The ProRes HQ footage is as good as uncompressed. It is a very good option for use in grading.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Hi Shane,
Unfortunately I don’t agree – trust me, I wish I did as I would have a lot less work on my plate right now. We have finished a couple of films in HQ and there is a definite black shift when export out a QT to Baselight and then back. The ProRes seems to crush the blacks by about 10%. And that’s only what is noticeable immediately to the eye. It’s not an option for me to remain in ProRes, I need a true uncompressed HD master especially as we are going back to Film.
I think it may just be a few LATE nights!
Cheers,
M -
Just to clarify, did the F3 feed SDI out to an AJA record device like the KiPro and was captured as ProRes HQ ? If so you do not want to go back to XDCam files in camera as they are highly compressed mpeg.
If you are having a gamma shift via Baselight, that isn’t a function of the codec but probably a YUV RGB translation issue. I have used Prores codecs via Color without such shifts. I would experiment more wih Base;light ot find out why the levels shift is happening as converting all to uncompressed will take time and take up a lot of drive space.
One way to prepare uncompressed to Baselight if the issue of shifting levels cannot be sorted is to use Media Manager to recompress your final sequence and convert and create a new sequence with Uncompressed 10 bit files. I hope you have fast and huge drives.
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Hi Mandy
You posted this 2 years ago but I hope you can still help me.
I have recently received a whole lot of ProRes 422 (HQ) footage shot via a converter box on the Sony F3 camera for a short film I need to edit.
There is about 500Gigs worth of footage.
I am using a MacBookPro, 2.2Ghz Intel Core i7, 4 GB Memory 1333 MHz DDR3. I am editing using Final Cut Pro 7.
My question is a simple one. Can I do the online using these massive HQ files, or should I convert to LQ for the offline?
I have to edit the whole project (which is a 26min short) in about 2 weeks so I would prefer to just jump in and start cutting with the ProRes 422 (HQ) footage but I am concerned that the bit rate is too high and I may run into trouble further into the edit.
As it stands, Final Cut can handle test files but I am concerned that later on there may be problems with processing power.
Any thoughts?
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You can edit those files just fine. They are optimized for FCP, and your computer is plenty fast for this. Just make sure they are on a FW800 drive or faster.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Thanks. That’s great news.
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