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  • Best FCP7 workflow for 7D NTSC shoot with export to Beta

    Posted by Andrew Clancy on August 19, 2011 at 2:40 pm

    Hi all,

    I will be shooting a show on the Canon 7D for NTSC delivery on Beta and I want to check what’s the best camera/FCP7 workflow to ensure proper delivery.

    I usually work in web or DVD delivery but this job is for a show on PBS in the US, so advice and pointers would be a great help.

    My plan is to shoot in NTSC 1080, 16:9, 30fps on the 7D and convert that to prores. I also have 16:9, SD footage on a NTSC digibeta tape that I’ll have converted to prores.

    Assuming those are the correct steps, what set up/sequence settings should I work in in FCP7. I usually use a prores sequence but is that the best thing to do here as it’s eventually going out to NTSC beta?

    Thanks for you help,
    Andy.

    Shane Ross replied 14 years, 9 months ago 2 Members · 5 Replies
  • 5 Replies
  • Shane Ross

    August 19, 2011 at 5:18 pm

    [Andrew Clancy] “My plan is to shoot in NTSC 1080, 16:9, 30fps on the 7D and convert that to prores.”

    Shoot 1080 29.97…NOT 30. NTSC is 29.97. If you shoot 30, you are going to have issues. If your camera doesn’t do 29.97…get the firmware for it that allows it to. And then yes, convert to ProRes. Download the Canon EOS log and transfer plugin and use FCP to, or use GRINDER from Red Giant…options that keep timecode and reel numbers. I have a tutorial for this workflow…

    https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1

    [Andrew Clancy] ” what set up/sequence settings should I work in in FCP7.”

    ProRes 422 1080i 29.97. Well, just drop in your first clip and FCP will conform the sequence to match. Edit with those settings, in HD.

    [Andrew Clancy] “I usually use a prores sequence but is that the best thing to do here as it’s eventually going out to NTSC beta?”

    Yes. When you are done editing, just output to tape and let the capture card handle the downconvert. BUT! Do they want a letterboxed show? Or a 4:3 show? If 4:3, then you will have to make sure that everything including graphics are 4:3 safe. Action too. Knowing what you are delivering helps you plan shooting. If you know you need to deliver 4:3, then you shoot with that in mind.

    Shane

    GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
    Read my blog, Little Frog in High Def

  • Andrew Clancy

    August 19, 2011 at 6:35 pm

    Hi Shane thanks for the great reply.

    I just shoot some test footage with the latest firmware installed and it comes out 29.97 according to the Quicktime Inspector panel, even though in the camera menu it says it’s set to 30fps, I’m assuming that’s all OK?

    Thanks for tutorial too, out of interest how do you feel about converting to prores through media manager or MPEG Steamclip? Is the Canon plug-in superior?

    You mightn’t be able to help on this but I’m looking at moving to CS5.5, though the time and space saved on converting could be undone with the learning curve. Am I right in saying that selecting a 1080i 29.97 sequence in CS5.5 will work the same?

    I’m waiting on word back as to 4:3/16:9 and other delivery details (people are on holidays at the moment), do you have any tips on maintaining title/action safe through the 7D viewfinder or while I need an external monitor?

    Thanks again,
    Andy.

  • Shane Ross

    August 19, 2011 at 10:09 pm

    [Andrew Clancy] “it comes out 29.97 according to the Quicktime Inspector panel, even though in the camera menu it says it’s set to 30fps, I’m assuming that’s all OK?”

    29.97 is what you want…you are golden.

    [Andrew Clancy] “out of interest how do you feel about converting to prores through media manager or MPEG Steamclip? Is the Canon plug-in superior?”

    I prefer LOG AND TRANSFER or Grinder. They add REEL number and the TIME OF DAY code from the camera to the clips. This way if you lose the drive, or the media, you can recapture and your cut will be fine…it will reconnect fine. MPEG STREAMCLIP doesn’t add reel or timecode…so FCP will have issues reconnecting. 5dtoRGB is another option that offers superior quality transcodes, but takes 2-3 times longer than Grinder, Streamclip or L&T. And again, no reel or timecode.

    [Andrew Clancy] “Am I right in saying that selecting a 1080i 29.97 sequence in CS5.5 will work the same?”

    Yup. And there will be NO transcoding…CS5.5 will work with the files natively. Well, if you have fast processors and a graphics card to enable CUDA. Otherwise, it’ll stutter.

    [Andrew Clancy] “do you have any tips on maintaining title/action safe through the 7D viewfinder or while I need an external monitor?”

    Put paper tape on the Viewfinder…small strips so you can see what is outside of that area too. You’ll have to manually cut the tape.

    Shane

    GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
    Read my blog, Little Frog in High Def

  • Andrew Clancy

    August 19, 2011 at 10:51 pm

    Thanks Shane, your advice has been great and has put my mind at ease!

    With regards to CS5.5, I have a Macbook Pro (Intel Core i7 with AMD Radeon HD 6750M, 1GB VRAM and Intel HD Graphics 3000 cards) which I don’t think will enable CUDA.

    Do you think CS5.5 is going to stutter on my Macbook Pro handling H.264, as FCP does with such files? If so I might as well stick with FCP.

  • Shane Ross

    August 19, 2011 at 11:35 pm

    Dunno if it will stutter on that machine. You’ll have to get the answer from someone who has it and uses it.

    Shane

    GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
    Read my blog, Little Frog in High Def

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