-
Prores LT to HQ recompression?
-
Hey, I’m working with AVCHD files shot with Sony EA-50. Transcoded to FCP 7 by Log and Transfer selecting Pro Res LT. Now, I finished my editing and would like to increase the quality to Pro Res 422. I read that is posible to Media Manager>Make Offline then re-transcode by Log and Transfer but I think it doens’t help me a lot, because it will be necessary to transcode everything again and the whole clip, not only what is being used in my timeline.
I just would like to know how make the old Batch Capture of my finished editing but with the original media in hard disks and folders in spite of tapes.Thanks
-
Media Manager allows you to just make offline the final sequence. If you select delete unused media with handles it makes new shots of each clip in the sequence and adds the handles.
Recapture and it will do just the shots in the sequence with handles, not whole clips. Hopefully you have the original folders on the same drive you L&T’d off and not directly from cards as L&T goes looking for the original source.
-
Hey Michael, thanks for helping.
I just don’t understand how to recapture the new media if it’s not saved on tape, but in hard disk.
I just want to editing in offline way for save disk space and have a good machine performance, then when it finished, want to batch only the clips of my editing sequence to after fx, color and outputting.
thanks -
There really isn’t much difference between LT and 422. LT is a full res codec. Proxy is the offline one. BUT, if you want ProRes 422, here’s the workflow for offline/online in FCP with digital files. This only works if you used Log and Transfer to ingest it originally, and kept the masters.
https://library.creativecow.net/ross_shane/tapeless_online/1
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Shane, thank you so much!
So, let me take advantage and ask you another thing. Let’s suppose I finished my editing using Pro Res Proxy codec and want to finishing it on After FX. When I open the sequence there, I am not able to reconnect the master clip with original avchd files because AE doesn’t recognize this kind of media and can’t access each media file. I suppose I am not doing by the right way, do you know how can I solve this?
Thank you again
-
Yes, you need to online in FCP…meaning re-import the AVCHD footage in FCP as ProRes 422, or HQ. THEN send the sequence to AE for grading and whatever.
Or start using Premiere Pro, edit native, and sent to AE. That dynamic link might work.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Great! Hey Shane,
First question: how big is difference between Pro Res HQ codec and its original file? Lets suppose original is AVCHD from EA-50 Sony.
Second: I understood you mentioned above there is not easy but is posible to offline/online clips through MpegStreamClip. I transcoded files from GoPro and Nikon D3100 to ProResProxy codec and want to online it, do you have a tutorial or something?
Thanks
-
[Andre Markwald] “First question: how big is difference between Pro Res HQ codec and its original file? Lets suppose original is AVCHD from EA-50 Sony.”
I’m no engineer, so I can’t give you data rate data and compression numbers and all that. Visually, it’s identical. You’ve just transcoded it into a format that FCP works with. Is there SOME compression, sure, whenever you convert something to something else, there is. But will you see it? No. ProRes is a very good codec…looks lossless even though it’s compressed.
[Andre Markwald] “econd: I understood you mentioned above there is not easy but is posible to offline/online clips through MpegStreamClip. I transcoded files from GoPro and Nikon D3100 to ProResProxy codec and want to online it, do you have a tutorial or something?”
I don’t. What you need to do if you do that is reimport EVERYTHING at full res, and reconnect. But that is so rife with potential issues that it really isn’t worth while. If you shot with those formats, since there is no offline/online workflow with them with L&T, you either need to import them at full res, and work at full res. Or…import at full res, and recompress (using the Media Manager) to an offline res codec, and then relink to the master footage (that you keep at full res, on a shelf or other storage) when you are done. Doesn’t really save space that way…it uses MORE, in fact. So kinda pointless.
These formats are editable natively in Adobe Premeire…so you might want to think about looking at newer, more competent edit platforms, rather than the 4 year old, discontinued, FCP 7. Even FCX will bring in the originals natively, and then you can compress to Proxy…edit, and then bring in from the originals at ProRes 422 or HQ. FCP 7, and those formats…won’t work. FCX…Adobe…will.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Very appreciate your explanation, thank you so much.
Reply to this Discussion! Login or Sign Up