-
Replacing Footage (SD with HD)
Hi,
I have 2 scenarios:-
1) I made a short on film and had my 16mm film telecine done in SD (DV) to save money.
Now, as you must’ve guessed, I want to replace that footage in my FCP project timeline with an HD (HDV telecine) file (for which I now have the money).
How do I do that preserving my edit? I know it has to do with timecode when I log and capture. Could someone suggest the best steps and could it be done perfectly? My main concern is it has to be perfect frame match otherwise all my sync sound will be Off.2) I made a short on my Canon DSLR and it records H.264. I used the Canon FCP plugin and converted it to ProRes 422(LT) for hassle free editing due to a tight deadline.Now for my own copy/reel, I want to replace all footage with H.264 files so that there is no loss of quality.
Please let me know if I am even “Thinking” in the right direction (owing to my poor understanding or codecs and intermediate conversions)? If yes, how to do it? If not how should I have gone about it in the first place?Hoping for some help from all the pros
-
3 Replies
-
Scenario #1 is too big of an issue for me to address. It’s a big problem if you didn’t have keycode and other film information burned into the screen, so that you have visual references, and database references to go back and re-telecine. It is a BIG undertaking with tons of steps….and I really suggest avoiding telecine to HDV. Get it telecined directly to ProRes on a drive.
As for #2 –
[Archie Carrey] ” I want to replace all footage with H.264 files so that there is no loss of quality.”
No, you don’t. You NEVER go back to the H.264 files. You transcode to editing codecs and never look back…other than to save those files for trancoding again if needed. You never online with the originals, never color correct, never output from. Transcode to ProRes…and move on. ProRes LT is actually a great codec for use with those files. It is virtually indistinguishable from ProRes 422…especially when going to the web or DVD or BluRay. You might want to go to ProRes 422 if you are outputting for broadcast…but you don’t want HQ or 4444. ProRes 422 is fine, and you can simply batch capture to that format…I have a tutorial on how:
https://library.creativecow.net/ross_shane/tapeless_online/1
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Thanks! I am an absolute newbie.
Just one more question, in hollywood working on motion pictures (not dvd or web), how do they edit Red 4k footage or IMAX footage? If its converted to ProRes 444 haven’t tey lost quality if they don’t go back? -
Typically it is editing in some offline format, ProRes Proxy or similar, and then relinked to the RAW files during the online process.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def
Reply to this Discussion! Login or Sign Up