-
Final Cut Pro Workflow for a footage shot by 5D Mark II in 1080 24p
Hello, guys.
I couldn’t really find an exact answer to my question,
so here I am asking you a help.I have footages that are shot by Canon 5D Mark II in 1080 24p
and sound files that were recorded separately in 48kHz to replace the internal mic sound of the camera.What’s the best workflow using Final cut Pro 7 to edit these footages/sounds and deliver in DVCPro HD 1080i60?
Is it better (1) to edit with the original source format and settings in a sequence,
then export as a DVCPro HD 1080i60?
or Is it better (2) to make a sequence to be set as DVCPro HD 1080i60, then drop the sources to the sequence and edit?I was told from somebody else that if I don’t do (2),
the length of the resulting video will be changed when I edit the video and the sound,
which I don’t really understand what that means.It may be a very easy stuff to figure this out, but if anybody can help me out on this,
I’d really appreciate it.Thanks!
Mikiko Katsuno
-
5 Replies
-
[Mikiko Katsuno] “What’s the best workflow using Final cut Pro 7 to edit these footages/sounds and deliver in DVCPro HD 1080i60?”
Download the EOS Log and Transfer plugin for the Canon 5D and use Log and Transfer to import the footage:
Plugin: https://software.canon-europe.com/software/0039308.asp
Log and Transfer workflow: https://www.youtube.com/watch?v=AhDnyWFAM10
[Mikiko Katsuno] “Is it better (1) to edit with the original source format and settings in a sequence,
then export as a DVCPro HD 1080i60?”Yes. Edit in a ProRes 422 1920×1080 23.98 sequence. That’s what you should convert the footage to…ProRes 422 23.98. Delivering DVCPRO 1080i60…a tad tricky. Just export a self contained QT file, take that into compressor, choose DVCPRO HD 1080i60…and Follow the following workflow:
23.98 to 29.97 via Compressor:
1. Drop clips you want to convert into Compressor
2. In Compressor, select your video then right click and choose NEW TARGET WITH SETTING > APPLE > FORMATS > QUICKTIME > DVCPRO HD 1080i.
3. Click on that newly created compression setting to open it in the Inspector window. Click the Encoder tab. Click the Video: (Settings…) button. Make the frame rate 29.97. Check the interlaced box. Set it’s drop down menu to Bottom field first. Click OK.
4. Click the Frame Controls tab. Set Frame Controls to On. Set Output Fields to Bottom first. Leave Deinterlace on Fast. Leave Adaptive Details checked. Leave Rate Conversion set to Fast. Leave the Set Duration to: on 100% and make sure it’s radio button is selected and NOT the “so source frames play at 29.97 fps” button.
5. Make changes to the Filters or Geometry sections as needed. Those settings listed above are the ones critical to getting the proper 3:2 pulldown added.
6. Submit the compression, then bring the resulting video back into Final Cut Pro. Place it in a 29.97 timeline and make sure you watch it on an NTSC monitor to verify that it looks good. If you step through it frame-by-frame you should see the familiar pattern of 2 split/interlaced frames followed by 3 whole frames. This is a very important step. I tried many solutions that looked OK playing back on the computer monitor, but looked terrible on the NTSC monitor.
[Mikiko Katsuno] “or Is it better (2) to make a sequence to be set as DVCPro HD 1080i60, then drop the sources to the sequence and edit?”
NO no no…FCP does a HORRIBLE job of mixing frame rates, or converting one frame rate to another in the sequence.
[Mikiko Katsuno] “I was told from somebody else that if I don’t do (2),
the length of the resulting video will be changed when I edit the video and the sound,
which I don’t really understand what that means.”They are wrong. The audio and video should sync fine. What is different about these frame rates is that 23.98 is a NON-DROP frame only format…meaning that you cannot properly time the cut to “real time.” You see, the frame rates aren’t exactly 24fps, or 30fps, they are slightly slower. So to properly time things, frame NUMBERS are dropped every minute, except for every 10th minute. So the durations are exactly the same, but the only difference is how the timecode numbers are shown…the 23.98 isn’t “real time.”
Shane
Little Frog Post
Read my blog, Little Frog in High DefSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
Thank you very much, Shane for the step by step instruction!
My opinion is basically the same as yours.
The thing is.. a director/final editor of this project says I should edit with DVCPRo HD1080i60 sequence
instead of editing it with the original format because the delivering format is the DVCProHD 1080i60 for a TV show.
I’m now asking her again which method i should choose
with the explanation that you gave me.By the way, is there any right settings for Easy Setup when I start this project in Final Cut?
Or it doesn’t matter if I log and transfer the clips using the plug-in that you gave me the link of?Thanks!
Mikiko Katsuno
-
Thank you folks for your valuable advices!
I think I’m gonna convince my colleagues oversea.Cheers!
Mikiko Katsuno
-
Best Shane Ross,
I just ended filming my first try of a documentary, and I have almost 2T of 5DMarkII-images.
I’ve read on the internet I should best convert them to appleProress422, so I did.But now it seems like a original 5DMarkII-file from 279,6 MB becomes a AppleProRess422-file from 1,11GB. Is it normal that it becomes so big? Do I really have to buy a new extra expensive external disc? And will editing go easy’er even when the files are much bigger in ProRess??
Is it really not possible to edit with the original 5D-files?
I hope you can help me out with this!
Thank you in advance!
Tini
-
Ok, that’s clear! first thing I do is buying a new disc!
Thank you very much Dave!
Reply to this Discussion! Login or Sign Up