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AVC-I 50 1080i60 edit in 1440×1080 why?
I shoot in AVC-I 50 1080i60 with a Panasonic AJ-PX270.
When I start a new sequence in Premiere2020, I use the AVC-Intra > 1080i > AVC-I 50 1080i60 sequence preset to edit with and it says the Video settings are 1440h 1080v, 29.97. Why is this? You would think that if I shoot in 1920×1080 60i, then there should be a setting that is not HDV. Can someone help? I think the computer is working too hard trying to take footage in 1920, edit with 1440 only to encode the final video as 1920. Seems ridiculous but I can’t find a better setting.
I tried to change the codec on the camera and do some tests with premiere, but I pretty much have to use that codec with the miniP2 cards that I have so that I can get 142 mins footage out of each card. Otherwise, I could shoot in AVC-I100/60p but I only get 36 minutes out of each card. Is the camera just junk?
I have a GoPro Black 7 that shoots, 1920 x 1080 60p that blows the Panasonic camera away. But I need to shoot with the Panasonic for xls audio purposes and the GoPro is my extra cam. Any help would be appreciated.
PS, I am not the only one editing this footage on my team, so changing everyone’s workflow would be significant. I would want to see definite improvement in quality from the Panasonic to make any changes. On Air, you can definitely tell which is the Panasonic because it looks blurry compared to the GoPro within the same edited segment.
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9 Replies
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A quick poke-around doesn’t seem to indicate your camera shoots “thin-raster” once commonly used to keep file-size/data rate under control.
So – how did you import your footage? Did you use Adobe’s Media Browser? If not, Premiere Pro may be confused by broken connections to metadata.
It’s generally recommended to make a complete copy of the camera media – including folder structure – to your project storage, and to pull it in via the Media Browser in Premiere Pro.
System:
Dell Precision T7600 (x2)
Win 7 64-bit
32GB RAM
Adobe CC 2017.1 (as of 8/2017)
256GB SSD system drive
4 internal media drives RAID 5
Typically cutting short form from UHD MP4, HD MP4, and HD P2 MXF. -
The 50 isn’t a full raster HD image. You’d need to shoot at 100 for that. That’s how Panasonic keeps the rate down on the 50, and you can record more on a single card.
You can make your sequence an AVC-I 100 sequence and you don’t need to edit at 1440 if you don’t want to.
It’s not junk. Either shoot at the lower rate, or get a higher capacity cards/more cards.
The color space with the 100 will blow away your GoPro when it comes to color correction.
TC -
Thanks for the tips, I’ll try those. yes I am importing the P2 footage in from the media browser in Premiere, from a hard drive with the footage copied on it. I just think the computer is struggling with a 1440 sequence, editing 1920, then exporting 1920. I’m used to FCP7 and FCPX that make a Prores copy that the computer plays nicely with. Maybe Encoder will help as well.
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If it is struggling that bad with the 1440, you can also do Proxies (Prores/DNxHD/Cineform) and relink to originals for final export. But, really, it shouldn’t be struggling that bad. What’s your hardware?
TC -
MacOS High Sierra
mid 2015 MacBook pro
2.2 ghz intel core i7
16gb 1600mhz ddr3
intel iris pro 1536mb
250gb hd ssd
6tb GRaid thunderbolt3 hd -
[John CTLIVE Mongeau] “I just think the computer is struggling with a 1440 sequence”
Chances are that format is decoding in real-time or trying.
We still have a Sony XDCAM that shoots 1440 so it goes through the transcode phase at all times to avoid this mess. -
So do you transcode all footage first before it goes into premiere, into prores?
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[John CTLIVE Mongeau] “So do you transcode all footage first before it goes into premiere, into prores?”
It depends on our current workflow.
If we have ample time (corporate is soup to nuts in scheduling) we just transcode all media to an editable format.
Avid is great for that, just ingest but we also work with RED so most of the time we just AMA that one.
Any odd formats like AVCHD, MXF, etc.. gets the DNxHR flavor.
If its a rush, I suck it up in Premiere/FCPX and use Proxies.
Once you have decent assembly then we do a transcode but there are times when that fails since again, it’s corporate video 😛
Too many tall foreheads spoil the brew here. -
Thanks, just trying to get a nice flow going. Appreciate all the help.
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