Editing H.264

[Chris Tompkins]

As you’ve read H.264 is an acquisition and delivery format and is not meant to edit with. You need to convert footage first. That’s the way it is,…for now.

MPEGStream clip.

Chris Tompkins
Video Atlanta LLC

[Jackson Van over]

Is it strange that iMovie is able to handle this and Final Cut isn’t? I thought Final Cut was supposed to be more advanced in every way… Thanks for the answer though.

[Jeff Greenberg]

iMovie can’t handle it either. It converts it to AIC – Apple Intermediary Codec

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com

[John Vonmutius]

Final Cut is more advanced, which is why it asks you to use more advanced video formats.

You can edit h.264, by the way, just don’t layer multiple video tracks or you’ll have to render.

For your edification: H.264 is frame-by-frame codec, which means that every frame is a highly-compressed individual image. Final Cut was not designed to play well with it because all footage at the time the software was created was tape-based (and not captured using frame-by-frame codecs). Most professional footage – even tapeless media – is still recorded using codecs that group frames together for better motion estimation, greater color depth, and faster/smoother playback rates, as opposed to smaller file size.

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Exploring the pitfalls of the 5D workflow. The many, many pitfalls…

[Jackson Van over]

Hey John,

Thanks for the added edification info. I still have a few questions though.

How can I edit H.264 directly with Final Cut? When I export it directly from EyeTV onto my desktop, then try to import into Final Cut, it gives me an error message. I don’t understand what you mean about not layering multiple video tracks, sorry I’m not super tech savvy 😛

I think I may have found a way around it though. I noticed I can import iMovie projects, so I may just put my raw footage on iMovie projects, then import those into Final Cut. Not sure if the format will still conflict, but it’s worth a shot.

[John Vonmutius]

I’m sorry, I just noticed that you’re using Final Cut Express. Apparently, that is not able to edit H.264. Final Cut Pro 7, however, can handle it well.

Importing iMovie projects is not something I’m familiar with, but in my experience, adding intermediate steps to a workflow like that only introduces more opportunities for things to go wrong. And, according to another commenter here, iMovie is converting your raw footage to AIC anyway. So why not just export your own raw footage as AIC or some other codec and rest easy knowing your source files will render efficiently and accurately in Final Cut Express? If you want the features available in the software, you have to make your files compatible.

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Exploring the pitfalls of the 5D workflow. The many, many pitfalls…

[Philip Berman]

It would be great is someone could clarify an issue about editing H.264 canon 5d mark 2 footage in FCP 7.

An editor (who I don’t know very well) insisted that you can edit in H.264 with the latest FCP – is that true, if so what version of FCP is he referring to? I found that converting to Apple Pro Res LT meant the files increased in size by at least three time! Can this right? If not, should I be using a differetn Pro Res setting?

Thanks

Philip

[John Vonmutius]

Yes, FCP 7 can edit H.264. This isn’t much of a blessing, however, because the render times are outrageous, and Unlimited RT playback only works for one video track. If you have two or more video tracks of H.264 footage, you MUST render before playback. Also, if you’re going to apply any color correction to your footage, you’re working at a disadvantage, because H.264 is so highly compressed.

Transcoding your footage to ProRes increases file size because it’s a better codec containing more color and pixel information. It’s a necessary step in the 5D workflow. You just have to start thinking about hard drives the way you used to think about DVDs or tapes: Fill one up, put it in a box, and start on a new one.

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Exploring the pitfalls of the 5D workflow. The many, many pitfalls…

[Philip Berman]

John thanks very much for your swift reply.

As you seem pretty knowledgeable on this subject, and I am relatively new to the Canon 5D format, I hope you don’t mind me directing a couple of supplementary questions your way.

I work in England and recently shot some B-roll for an American company. They asked for it to be shot 30fps, which we duly did. The thing is the shots all look jerky until they are converted to Apple Pro Res.

Why is this?

Also, a client thought I would be shooting in Apple Pro Res, but I presume this is impossible as this is just a codec and one can shoot Canon 5D format mark 2 in H.264? Thanks very much in anticipation for any help you can lend me, regards Philip

[John Vonmutius]

I don’t mind the supplementary questions at all.

When you shoot 25fps with the 5D (which I’m assuming you do for anything local), does the footage playback the same way on your computer? In my experience, H.264 footage from the 5D will not play smoothly on any computer save for the most powerful. I’m using a dual quad-core 3GHz machine with 8GB RAM, and I still can’t play it back smoothly, because I am using the factory installed video card. A coworker has an AJA Kona capture card, and he’s able to play the H.264 fine.

Shooting in ProRes is possible, but not with the 5D. Some of the new digital format cameras – like the Arri Alexa – shoot in ProRes, but they start at $50,000. They’re true production cameras.

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Exploring the pitfalls of the 5D workflow. The many, many pitfalls…