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Proper settings in MPEG Streamclip to convert D7 to ProRes?
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Onboard. Kick start I think.
🙂
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
One way to stop DPs making trouble for post is to send them a bill for extra work. Also freely offer feedback. I have inherited many projects where the DP has mangled the post workflow by their ignorance. I ring them and tell them how many extra hours their assumptions cost.
If they were using a timecode slate, where was the timecode generated. Unless the displayed code was from the audio, then it is useless info anyway. The point is that the camera code will not match the audio as there is no way to extract timecode from the 7D as far as I know and if the code was generated by the audio recordist, then there is no way to jam sync the camera so the camera code is not relevant unless you need to recapture in an offline/online workflow.
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“[Jim Curtis] “This is pretty ironic, but I’ve that Premiere Pro CS5 edits h264 footage perfectly without transcoding. Ironic, because FCP doesn’t. ”
FCP can…but it gets ponderous after a while. CS5 can because of the Mercury engine…that gets more power from the processors, because H.264 is processor intensive.”
One of these days, I’m going to figure out how to actually do a “quote” on the Creative Cow forums….. 😉
Shane’s right, but I thought I’d chime in to help clear a misconception. A lot of people associate the Mercury Playback Engine (MPE) to the GPU only and that would be a mistake. Adobe Premiere Pro can edit H.264 and other temporally challenging codecs because of a native 64-bit application. This really accounts for the performance more than anything. The GPU kicks in when you start adding effects and filters. There, the GPU can help take the load off of the CPU by processing the effect. It’s a balanced system approach. Of course, then the issue becomes having good CPU/GPU/RAM in proportion.
I hope this helps.
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I haven’t had yet the opportunity to play with footage from that camera, but I would have a look to Clip Properties and see if there is a TC track and if is active.
rafael -
[Dennis Radeke] “One of these days, I’m going to figure out how to actually do a “quote” on the Creative Cow forums….. ;-)”
Select the text and hit Shift-Q.
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[Rafael Amador] “I haven’t had yet the opportunity to play with footage from that camera, but I would have a look to Clip Properties and see if there is a TC track and if is active.”
Ha!
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Thanks Jeremy, but for some reason it never works for me!
I tried again and failed. Most likely it’s USER ERROR! 😉
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What means “Ha”?
My JVC files comes like that: TC track unchecked.
I don’t understand a camera with a TC Generator that only write it in Metadata.
And this is not the only instance where you may find this.
rafael -
[Dennis Radeke] “Most likely it’s USER ERROR! ;-)”
What browser?
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[Rafael Amador] “What means “Ha”?”
The Canon DSLRs do not have timecode. In the Log and Transfer plugin, “timecode” is really made up of the timestamp from the camera. So if your camera is set to 11:59AM and 20 seconds, the plug in will make timecode of 11:59:20:00. This time stamp is NOT written in to the h264 files, which is why you need the complete card structure. So it’s timecode of a very different nature and really not timecode at all. Here’s a screen grab of properties from a 5d file. No tc at all.
Here’s properties after a clip being logged and transferred:
Jeremy
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