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Exporting P2 Footage
Hi everyone,
So I’m new to Premiere Pro, having come from Final Cut Studio 3, and while I’m feeling good about my editing, I do have an export question. What is the best way to export a DVCProHD project from Premiere while preserving my quality? When I selected the “Match Sequence” box it came out as an actual P2 file that I then had to run through FCP Log and Transfer to get a quicktime file that I could actually play. Is there a setting in Premiere that will just get me a playable file without converting to H.264?
Also, when I did export out with the “Match Sequence” settings it took 12 minutes and the video is 2 minutes and 18 seconds. It was going to take 15 minutes to convert to H.264. Am I doing something wrong? I feel like I must be for those export times. Again, I just want basic.
Thanks so much!
Panasonic HPX170 P
2008 Unibody Macbook Pro 15 inch, 2.8 Ghz, 4GB RAM
CalDigit VR
Final Cut Pro Studio 3
Avid Media Composer
The College of WIlliam and Mary -
4 Replies
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It sounds like you’re trying to export as a digital file to preserve your finished work – like a digital master?
Best,
Jeff G
Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
Come See me speak at NAB!
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website -
Yes! Those are the words I was looking for! How do I export a digital master of my finished work?
Panasonic HPX17 P
2008 Unibody Macbook Pro 15 inch, 2.8 Ghz, 4GB RAM
CalDigit VR, G-RAID mini, G-DRIVE mini
Final Cut Pro Studio 3
Adobe Premiere Pro CS5.5
Avid Media Composer 3.5.4
The College of WIlliam and Mary -
That’s a harder question. And I don’t have a straight answer – because Premiere Pro is doing such a great job handling the native format. I don’t have a direct answer, merely some thoughts.
Thought 1
Since we’re dealing with P2 media – you’re backing that up anyway. If it’s all on one drive, and Premiere Pro manages to link to that, then loading up your sequence is as simple as grabbing the project and pointing it at the P2 cards.Thought 2
You could project manage the media on another HD – and you’d have everything (you could even delete what you didn’t use.) Now you’re no longer dependent on the P2 media (haven’t tried this with p2 yet) – and I’m not sure what flavor the managed media would show up as.Thought 3
Since we’re not able to rewrap into QuickTime – since there is no QuickTime DVCProHD component, our options are to (mostly) transcode; CIneform is an excellent codec (you have to pay to encode, free to decode) – but so is DNxHD – Avid’s codec; and it doesn’t require paying anyone. Of course, you could do uncompressed (but nobody really wants to handle such.)Best,
Jeff G
Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website -
I work with P2 media every day (Intra-AVC, to be specific), and this is my workflow:
1. Edit project natively (no transcoding).
2. Output to whatever client needs.
3. Output to a VBR 14Mbit H.264 for a backup video master, or a 10-bit lossless AVI/QT if it’s warranted. The H.264 file looks as good as any ProRes file (both are lossy).
4. Use Project Manager to backup the project, and all media. Premiere will copy only the media you use (or all of it, if you want), and will not recompress MXF files. Everything remains native (you will lose the P2 directory structure, but Premiere doesn’t care). A 1TB backup drive is $50 these days, so storage is a non-issue.
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