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Best workflow for re-encoding clips in timeline
We’re nearly at picture lock for a 90 minute doc shot on a 5D Mk III. Originally all of the clips were encoded to ProRes 422 in Compressor, but we’ve decided to make the change to ProRes 422 HQ before finishing. (The director is set on HQ.)
There is upwards of 100 hours of footage in the project, but I’m wondering if there is a way to isolate the clips from the timeline for re-encoding? No clips that aren’t already in the cut will be added, so it won’t be necessary to upgrade everything to HQ. And since we’ll be transcoding from the original H.264 I wasn’t sure if Media Manager (recompress) could help?
Does anybody have advice on the most efficient workflow? If need be I can go through the timeline one clip at a time and drag them into Compressor, but I’d like to save some time.
Thank you!
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4 Replies
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Sorry, I forgot to mention we’re working with FCP 7.0.3.
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Tell the director that the difference between these clips being encoded to ProRes 422 or Pro Res HQ is zero. meaning they will see zero difference between the clips encoded to HQ versus those encoded as ProRes 422. Because Pro Res HQ works best with 10 bit source footage. Canon DSLR footage is 8 bit. There will be no quality gain encoding everything as HQ vs 422.
the only difference will be in the directors head. Thinking the HQ is better than 422. It won’t be. You can encode one clip as both formats to show him as an example
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Perhaps to humour the director render the grade in ProRes HQ. As Shane said there is no gain, just a lot of work.
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Ahh..good call. ProRes rendered out to ProRes HQ will show no difference. You can even Media Manage RECOMPRESS to ProRes HQ if you want.
Shane
Little Frog Post
Read my blog, Little Frog in High Def
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