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Canon XH-A1 & 60D: best Workflow for working with MPEG-2 and H.264?
Just got done filming an all day rock concert last Saturday with a Canon XH-A1, a Canon 60D DSLR, a GoPro, and some sort of Canon Handicam (was other guys). The footage that I have so far is with my cameras, the XH-A1 & 60D. We recorded audio out of the mixing board to ProTools and will be syncing the audio later, so I’m pretty sure to get it to work, I have to export the final audio track as a MOV file at 23.98 FPS. Here are the stats on the footage, I’d love some input on the best workflow/codec to edit:
Canon XH-A1:
MPEG-2 Video, Linear PCM, Timecode
FPS = 23.98
Dimensions: 1440×1080Canon 60D:
H.264, Linear PCM
PFS = 24
Dimensions: 1920×1080I feel confident that I can get these two cameras’ footage to work together, but the GoPro could only shoot at 60FPS, will that be a problem or can I convert it to 23.98 FPS and still make it usable?
Thanks Guys!!!
I film big machines that wreck a lot of sh#t.
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2 Replies
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Typically, long-GOP formats like mpg and H264 seem to cause a lot of audio sync problems, so one strategy you should consider is a meet-in-the-middle intra codec like one of the ProRes flavours. While you’re at it, the GoPro source media could be massaged so that it plays nice with the rest of the team. A conversion to 23.98 might be possible if it was consistently shot with a 23.98 camera rate recorded with 2:3 field cadence over the 60i frame sequence. If not, and the footage really is either 5994i or 60P (but not 24 with Advanced Pulldown), you will be into a more-or-less frame blended or optical-flow re-master. Depending on the quality you want to achieve, this can take either a fair amount of time, or look soft and gooey.
Three different cameras in three different formats? How is any of this going to match? I knew the money had gone out of music videos, but this kind of shocks even me.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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FCP X would handle all of that stuff natively
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