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Reconciling different Codecs
Hi Everyone,
I am working on a project that was shot on numerous cameras and I’m feeling a little boggled as to how I should make them consistent with each other. Eventually these clips will be synchronized and need to be converted to transport streams. How should I approach this? Import all of the clips in a Final Cut sequence and manually crop, or take each clip into compressor first? Also, I’m having a hard time deciding what the final settings should be based on the shared characteristics of these clips.
Any ideas where to begin? I’m Lost!
Here is a table of the clips I’m working with:FRAME RATE FRAME SIZE COMPRESSOR PIXEL ASPECT 23.98 960 x 720 DVCPRO HD 720p60 HD (960 x 720) 23.98 1280 x 720 HDV 720p24 Square 29.97 1440 x 1080 HDV 1080i60 HD (1440 x 1080) 25 1440 x 1080 HDV 1080i50 HD (1440 x 1080) 23.98 960 x 720 DVCPRO HD 720p60 HD (960 x 720) 23.98 1280 x 720 HDV 720p24 Square
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7 Replies
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Hi Harold,
The important thing is that you unify the time-base of all the stuff, then you will be able to dropp it all together in the same sequence without caring much about size, pixels and codec.
You need Compressor to convert the 29’98 to 23’98.
With the p25, you can transcode it (Prores) and Conform to 23’98 in CinemaTools.
When you process this footage, downscale it to 1280×720 (Square).
Then you can put everything in a 1280×720 sequence (Prores, why not?) and edit.
rafael -
Thanks so much for the feedback Rafael!
Should I convert all of the HD Pixel aspects to Square? I’m unclear whether Square in this context is shorthand for 1280×720 or for square pixels as opposed to rectangular.
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Before anything, I have to say that I have a doubts about the 23’98 DVCProHD p60.
I don’t know if that is p23’98 with pulldown recorded as p60 or overcrancked, or… I don’t know how to manage that.[Harold Batista] “I’m unclear whether Square in this context is shorthand for 1280×720”
1280×720 is the same frame than 960×720 HD pixels. is like you make a wall of the same dimensions with two different kind of tiles.[Harold Batista] “Should I convert all of the HD Pixel aspects to Square?”
I think that if unless you want to deliver in DVCProHD, your sequence should be 1280×720.
If you have to process some stuff through Compresor for the time you better make the re-sizing at the same time. Better than in FC.
rafael -
Before anything, I have to say that I have a doubts about the 23’98 DVCProHD p60.
I don’t know if that is p23’98 with pulldown recorded as p60 or overcrancked, or… I don’t know how to manage that.I think unless this is 24 PN or native 24p than it will be flagged with pulldown for p60. I’m not sure how to remove those flagged frames though. Will Cinema tools do this? Or can’t you just drop the 23.98 flagged media into a 24p timeline with the others.
I don’t think is really advice on my part but mainly curious as to how the workflow will be.
OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card
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I’m having some problems with the ProRes convert of the 25p, the image is pretty blurry and I’m getting glitches where the movement ‘sticks.’ Is there another way? Also, since I’m conforming to 23.98 in Cinema Tools, am I converting to ProRes just for the scaling?
I’m delivering on a Panasonic Projector (PT-AE4000)
The specs on the web read that its HDTV compatibility supports:
720 (750)/60p, 1,080 (1,125)/24p, 1,080 (1,125)/50i, 1,080 (1,125)/50p, 1,080 (1,125)/60i, 1,080 (1,125)/60pand another out is a Panasonic HDTV (TC-P46G10)
Which only lists that it supports TV scan lines up to 1080p, but no fps specs. -
Rafael,
If I understand correctly, all of the clips should be OK to go in one sequence except for the 1080i50 and 1080i60, both of which have strategies explained above for how to deal with, right?
I can send them all through ProRes (HQ) in compressor to edit then.
Thank you all!
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The i60 and i50 stuff needs to be de-interlaced.
For all the processes that you make in Compressor, you must set “Frame Control )N”.
Rafael
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