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h.264 problems !!!!!!
Heeey!
Alright… Now, I have been editing in finalcut for a few years now and while I can stroll around the program with no problems usually, I don’t necessarily know what I’m looking at.
I really thought I was starting to grasp codecs but then this happened.
So, I tried editing with straight raw h.264 footage from a 7d and I found out the hard way that that’s virtually impossible. I was introduced to MPEG Stream and converted everything to apple prores422 (I was told it was “best”… if any of u know why, do tell). Changed all my presets in final cut but STILL the footage lags when I try to play it! What the hell!!! I have to get this stuff edited and it’s been hell trying to figure out. There’s probably something reaaally simple that I’m not doing.
So tell me this:
1. What do I do to get this to go smoothly while I edit?
2. When I am exporting it, do I just export it back to h264? Or what is the best codec to export it to for Vimeo?
3. I thought a codec was just the way inwhich FCP reads information from different cameras… why are some better than others and why the hell are there so many? Is this archaic technology that is on the brink of insignificance? Please … please say it is.Thanks.
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9 Replies
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MPEG Streamclip is a wonderful program, but I’m not sure it’s the best way to transcode your 7D footage. Canon has a FCP plugin that does it as does Red Giant’s Grinder. ProRes is best. It will work very smoothly with FCP. You haven’t described your edit system so it will be hard for folks to help you. What computer, OS, version FCP, drives, etc? Many things can affect your ability to edit smoothly. And make sure your sequence settings exactly match your clip’s parameters. I’m afraid editing video will become more complicated as time goes on. There are so many formats and codecs it’s hard to keep up. But if you do this for a living, you have to find a way.
John
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Without a codec everything would have to be uncompressed and everyone would need to be purchasing $10K Raid systems to be able to view video.
There are a lot of codec because there are different needs for different purposes. All these small cameras use some type of mpg4 (H264 is one of them) because people want cheap solutions and to be able to record a long time on a cheap 16 or 32 GB card vs. say P2 card with gets 1-2.4 minute per GB and the cards cost 10x the same size SD/CF card. When editing you want a balance between size, data rate and a codec that will hold up to modification as well as one that doesn’t need as much processor to decode it. Enter ProRes for FCP. It is a great balance of all these but your files are 10x the size of the H264.
Now as for your problem, you need to give your system specs. These cameras are shooting 1080p 30 0r 24 fps, Lower end systems with slower HDs will lag.
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RT was set to 50% frame rate… duuuh… knew it would end up being something silly like that.
I’m probably never going to be able to comfortably wrap my head around codecs… my brains just doesn’t seem to want to process it. But I’m getting the hang of it.
I wish the director could just come by and drop off a ton of film canisters full of footage and I could sit for hours just splicin’ away.
And I’m not even being sarcastic, haha. I’m just insane.
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[Amanda Row] “2. When I am exporting it, do I just export it back to h264? Or what is the best codec to export it to for Vimeo?”
Try to get from FC a full quality/full size Master (PRORES OR Uncompress).
When you are happy with that, use the application that you want to make an H264 if is for the web.
rafael -
[Amanda Row] “I wish the director could just come by and drop off a ton of film canisters full of footage and I could sit for hours just splicin’ away.
“Hmm 8 mm, super 8, 9.5mm, 16mm (single and double perf), Super 16 , 35mm four three or two perf, 65 & 70mm, Showscan and IMAX. I won’t even mention double system sound options and systems. Are your splices tape or cement and if so are the pos or neg cement splices?…. I think you get the idea.
The romance of the simplicity of film is just as fallacious as the notion that modern video codecs are unfathomable.
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>> The romance of the simplicity of film is just as fallacious as the notion that modern video codecs are unfathomable. << I disagree MG, cutting film, the smell of the film and of the cement, the acetate passing under your fingers as you scan for the next edit, is still a pleasure. I agree that most people now are only looking for the short cuts and forgetting that editiors used to be called a "craftsmen" gary adcock Studio37 Post and Production Workflow Consultant Production and Post Stereographer Chicago, IL https://blogs.creativecow.net/24640
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Gary, having come from the audio side of the film industry, I can tell you that cutting sprocketed mag was a total pain compared to the control, power, speed and ergonomics of computer based DAWs. The complexity of film was often covered by labs and neg cutters that shielded the editor from the tech complexity of film.
The real issues these days is that editors are required to do most of the tech support that other specialist used to handle. More than ever, we need to value post production technical supervision as so many editors struggle with issues that should be transparent to them.
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But that’s romance, not practicality. And the craft is in the decision-making, not the sticking together of two bits of plastic.
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