-
Best (worst) offline edit codec
-
[Craig Ricker] “why did the relink of the go pro files work for me? Am I just getting lucky?”
Craig, if I understand correctly, when you did your test you just deleted the media files, then relinked to the camera originals. When you do it this way, FCP is ONLY looking at file names as the basis for relinking.
So while your test worked, you can run into problems if you have tons of footage. Chances are, you will have multiple files from different shoot days that have the same name. At least this has been the case for me on every DSLR based project I’ve worked on. So in my mind, having a workflow that preserves reel and TC info is essential. Otherwise, for example, you might end up in a situation where you have six files all named “MVI_9367.mov” — which can turn your conform into a very tedious and error prone process.
I’m just speaking about DSLR footage … I don’t know how GoPro stuff works with FCP Log & Transfer.
I haven’t tried “Grinder,” but in my experience using the FCP L&T method has been very reliable. I’ve done several projects recently using ProRes proxy, then used media manager to prep my final timeline and “re-captured” to ProRes HQ or even 4444. It’s been totally frame accurate and I’ve had to do ZERO fixes on any filters/mattes/motion effects, a nice benefit of off-lining at full raster.
Just my two cents,
Matt Lyon
Editor
Toronto -
Hey Matt,
Ok So your experience with a DSLR was it had TC and reel, or you did what the other guys have done and used a program to add those metadatas to the DSLR footage?
Go Pro is much the same as a DSLR i’m assuming. Just makes clips with the name starting from 0. Each time the card is formatted the Go Pro starts again from 0, which is where I would hit problems as you mentioned.
So it makes sense now that i’ll have to add TC and Reel properties to the footage for any shoots longer than 1 card.
What software do you use to do this with Matt?
-
[Craig Ricker] “Ok So your experience with a DSLR was it had TC and reel, or you did what the other guys have done and used a program to add those metadatas to the DSLR footage?”
No, the 7D footage I work with gets ingested via Final Cut Pro’s Log and Transfer (like I said in my other post). The timecode and reel info is automatically generated during this process. You need to install the Canon EOS plugin.
If you haven’t watched Shane Ross’ “Tapeless Workflow” tutorial, you should. It is on this site.
I haven’t worked with GoPro footage, so I don’t want to speak outside of my experience. But in addition to the other tools people mention, you can add TC and reel info right within Final Cut. You can batch assign reel names, but not timecode, IIRC.
hth,
Matt Lyon
Editor
Toronto -
Hi Shane!
Ive been doing some research, on offline editing in which i never did on my own laptop on much more powerful systems. However now working on my macboo pro. Intel Core i7, 2.66 GHz, 4G. So its definitely not powerful enough for me to multicam edit with 10 – 11 tracks Prores 422. Also With the T3i some reason im never able to transcode via log and transfer with that footage! and havent had the time to do deep research on it due to need to have a quick turnaround. OK so my question to you Mr. Shane 😉 issss converted to Proxys but it still seems its too much for my laptop to handle. Is there another way for me to streamline up to 10 tracks smoothly thats would be even lighter than proxys? I dont have any graphics to use or wont use til the edit is locked in so im not worried about that. ANy advice would be greatly appreciated. Oh keep in mind i used compressor to convert to proxys from my already transcoded footage of Prores 422.
Thank you in advance!! I DESPERATELY NEED A SOLUTION. running out of time..
” You can always get back what was lost except time wasted, so what are you waiting for”
-
Wow you want 12 streams of multicam on a laptop with firewire drives. I don’t think there is any codec or NLE that can do that.
-
If you edit of an external raid via thunderbolt u’ll have no issues I’m guessing. It’s def the read access speed of the laptop hard drive that’s slowing u down.
-
Transcode to OFFLINE RT and see what that gets you. VERY low res codec…it might work.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Say your native footage is 1920 x 1080.
is there a way to do a offline with a smaller resolution say dv pal 16:9 anamorphic.
And then reconnect without any sizing issues to a 1920 x 1080 footage?
On all obvious terms it appears you wouldnt be able to, but maybe there is some crazy work around?
-
DV has the same data rate as HDV so you could stay HD. As Shane said, offline RT is the leanest edit codec.
If you use a frame size different to the original, you can reconnect but delete>attributes>basic motion. If you have any reframes they will have to be redone manually
-
DV is one of the easiest codecs to playback. Hdv, not so much.
DV is about 4MB/second.
4×12 = 48 MB/sec.
A good fw800 raid0 will probably run around 80-100 MB/sec.
You will have your work cut out for you in the online, but it’s possible.
Make sure your offline reel and tc are matching your original files.
Reply to this Discussion! Login or Sign Up