CODECS and Transcoding

[Jeff Meyer]

If you can tell us the basics we can help.

1) Why are you transcoding? You’re in the Adobe CS area – Adobe CS5 work natively with most formats, so there’s no reason to transcode in many cases.

2) What are you transcoding? (Video from a camera? What camera? Motion graphics? How were they exported? Downloaded video? What format is it?)

3) What are you creating? Is this a commercial? A short film? Documentary? It’s also worth noting where it’s headed. Things are different when things are going to the web than they are when they’re destined for the big screen.

We aren’t trying to steal your project or your ideas, we’re trying to help you. Right now we have a list of SD and HD codecs that are lossy and lossless, different aspect ratios, delivery and editing formats, and there’s no apparent rhyme or reason behind any of this. When you go to the mechanic you don’t give him a list of parts your car uses, you say hey, I’m hearing a noise when I make a left-hand turn, can you look into that?

[Christopher Rotter]

[Jeff Meyer] “If you can tell us the basics we can help.

1) Why are you transcoding? You’re in the Adobe CS area – Adobe CS5 work natively with most formats, so there’s no reason to transcode in many cases.

2) What are you transcoding? (Video from a camera? What camera? Motion graphics? How were they exported? Downloaded video? What format is it?)

3) What are you creating? Is this a commercial? A short film? Documentary? It’s also worth noting where it’s headed. Things are different when things are going to the web than they are when they’re destined for the big screen.

We aren’t trying to steal your project or your ideas, we’re trying to help you. Right now we have a list of SD and HD codecs that are lossy and lossless, different aspect ratios, delivery and editing formats, and there’s no apparent rhyme or reason behind any of this. When you go to the mechanic you don’t give him a list of parts your car uses, you say hey, I’m hearing a noise when I make a left-hand turn, can you look into that?”

I’m Transcoding so another video editor can load a video files I’ve created. As it turns out because it’s still in beta despite being commercial a few years ago all the codecs that the video editor should be able to read, it can’t. I just want a method to transcode my video, if the video is not originally exported out to a specific codec . I want a reliable transcoding workflow. The amount of converting software out there insane but without even having much experience with most of them, I feel most of them are garbage. I don’t know how the development cycle is for this video editor and when it will be released out of beta. I don’t have any time to wait around, I’m going to find some info out from other users, how to get this to work, if I can.

[Jeff Meyer]

Now we’re starting to get somewhere. Starting. The fact that you’re prepping footage for another editor is useful information. We’re still missing critical details like HD, SD, camera make and model, the editing software this project is destined for, important details. I’ll fire a shotgun here and maybe I’ll hit a target.

Generally when handing assets off to another editor the best practice is to send the original media if possible. Some editing suites like Final Cut and Avid have their own proprietary codecs they like to use. If you shot to a card (P2, SxS, etc.) you send the entire card (even things that look insignificant like a “lastclip.txt” file) to the other editor. Make a folder for each card and treat the folder name like a reel name, Card 1, Card 2, or a descriptor of what is on that card. It is important to preserve the folder structure of the card. Keep a copy of the footage you’re sending off. Data transfers aren’t always perfect, and UPS isn’t always gentle.

If it’s a tape look for something native if it’s DV or HDV, or an uncompressed format for something more robust like HDCAM. Same practices as above, label the tapes as though they’re reels, and keep a copy.

If you’re sending motion graphics send them in Amimation codec with Millions of colors, or Millions of colors+ if transparency information needs to be included. Talk with the editor and make sure you deliver at the correct frame rate and frame size. The animation codec is supported by AVI and MOV.

I think that’s the most help I can be without you providing actual, useful information.

[Christopher Rotter]

It’s not actual video footage, rather animation. I’m trying one more codec for the video editor, if that doesn’t work I’m switching to another video editor, but it won’t be Premiere.

[Jeff Meyer]

Premiere is one of the most flexible editors out there for accepting codecs.

Try PhotoJPEG if you don’t need transparency. It’s pretty universal, and at quality 100 it looks good.
Use Animation codec inside of Quicktime or AVI and pick “Millions of Colors+” if you need to include transparency.

If you had said you were sending an animation from the beginning that would have made a world of difference.