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C100 on premiere Pro CORRECT WORKFLOW – upper or progressive?
Hi guys
I need to edit some Canon C100 footage in Premiere Pro. My timeline is set (and needs to be set) on Apple Pro Res LT Progressive – as that’s my output and also because footage from other, progressive sources needs to be used.
Now, I usually transcode my C100 footage to Pro Res LT before importing, to avoid any issue with MTS.
I see that Encoder reads the C100 rushes as 25FPS Upper dominance: is that correct? I have been told that the footage was shot as progressive, so I am not sure of what’s going on. is that just an issue related to how Encoder reads the AVCHD format?
The final question being: shall I :
– force Encoder to transcode my C100 rushes to Progressive or
– leave the dominance on ‘same as source’ and leave premiere to deal with it?Thanks a lot, any help is really appreciated!
xxs -
5 Replies
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If I was you I’d work with native footage of your computer goes well, and when you have the final master, convert to the codec and specs needed
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Hi,
I have something for you to try. So take a copy of one of the clips from the C100 and from Media Browser add it to your project. From the project window right click on the clip and select “Interpret Footage”. On that dialog you will have the option to conform it to progressive. Then try your test again and see if it better.So what’s going on? The C100 shoots in a funny format. It is recorded as Progressive (if that is what you selected) but some NLE think it is interlaced. Conforming to Progressive is reported to be the best solution for Premiere.
Once upon a time I would have said the C100 is PsF for progressive segmented format. Google that and allow at least a day for all the discussion. However I understand that PsF is only for HD-SDI, so I’m unsure as to what to correctly call the footage from the C100.
Let us know how you get on and always take a backup of the source clip.
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Hello Mark Thanks for your reply 🙂
It makes total sense to interpret the footage as progressive but: I am not importing directly from the rushes as Premiere seems to be unstable with MTS files -and I need to get footage from other kind of cameras as well, on quite big projects. So I need to go through Encoder first.
Do you think I should force the footage to be progressive when I first transcode it in Encoder? Or shall I just use the option ‘same as source’ – which is giving me an Upper Field dominance in the output?
I’ve done some tests and -I must say- I haven’t noticed any difference. To me, it makes more sense to convert it as progressive in Encoder… the timeline will be happier, as the footage is exactly in the same format as its settings, and I will avoid the risk of interlacing it at this stage.
On the other hand, the risk is that Encoder applies a de-interlacing filter on a progressive file, which is a nonsense too.
What do you think?
Thanks again 🙂 sil
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Hi,
I would conform first so that you edit with everything as close as possible. Even if that means running the clip through premiere in order to align it as close as possible to your other footage. But seek other opinions.Here is a blog post by Matt Davis: https://mattdavis.pro/2013/12/30/canon-c100-psf-the-fix/
I had never heard that Premiere is unstable with MTS.
mark
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I have not had any problems with MTS files, and have been using it quite a while.pls explain.
Al
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