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TWO video formats – ONE :30 commercial – FCP
Hi everyone. I am going to be bringing two different hi-def formats into the same timeline and would like an ounce of prevention here. It is a :30 spec. commercial. half of which was shot on a Sony HDRFX-1 in Hi-Def mode, and the balance of footage shot on a SONY PMW-EX1, which footage will be shot in HQ mode:1280 x 720/59.94P. Is there anything I need to know to make sure this happens as seamlessly as possible. I know I will be ‘capturing’ the FX-1 footage and ‘transferring‘ the EX1 footage. Are there any settings I can create to make sure this footage looks pretty compatible out of the gate regarding size/ratio as I start dropping it into bins?
I will be using Final Cut 6.0.6.
Thanks in advance for your time people.
Jared -
6 Replies
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Why shoot the EX 1 at 1280 x 720? The HDRFX-1 is shooting HDV which is 1440 x 1080 so it would make more sense to shoot both at 1080 res.
If you want seamless playback and control, then both sources should be converted to ProRes 1920 x 1080 during ingest. Shoot both at the same frame rate please!
I have seen XDCam and HDV codecs in the one timeline with the renders set to ProRes but it is more elegant to work in the one codec and frame rate.
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Hi Michael,
Thanks for getting back to me so quickly. I wold love to shoot at a higher hi-def mode but the 60FPS on the EX1 is limited to 720P. The slow motion effect I need to achieve requires 60 FPS. The FX1 was used to shoot the already existing footage at 29.97FPS. The bed is made. I must sleep in it. I can only change the pillow cases and comforter.RE: Ingesting
I will be importing from the two different cameras and am only familiar with FCP 5.1.4. Are you saying with 6.0.6 I can: 1) capture and transfer with the same ProRes clip setting? 2) The end result will be the same size/ratio clips for both media?Jared
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Hey Michael,
Hope this isn’t the question that shouldn’t be asked.
When I convert to a ProRes codec during ingest, will I still be maintaining my distinct 60FPS attribute of the EX1 footage? It is ultra critical that I have 60 distinct different frames to work with to accomplish the slow-mo effect I am going to execute.
Jared -
Sorry Jared, I understand the limitations of shooting the slo mo locks you into 720. I missed that detail in your original post.
It is possible to capture your HDV straight to ProRes. Chris Poisson wrote a tutorial a while back which is FCP6 relevant so search the Cow forum and you should find it.
The 60fps will come in via log & transfer. If you bring it in as native XDCam @ 60 fps, then you can convert the footage in Compressor using frame controls to slow the footage down to 29.97 and convert to ProRes at the same time. At that point you might want to scale the footage up to 1080 as Compressor will do better scaling than within FCP.
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Hey Michael,
Thanks for all of the information. I will definitely refer to C.P.’s tutorial this weekend as I venture into the great unknown. I don’t use Compressor much except to create smaller finished files for play on internet video portals where I want to avoid long upload times. I really need to use Compressor more for what it was intended in a professional sense. Old dogs…. -
[Jared Cicon] “Old dogs….”
I have more grey hair than you and I have recently ventured into the dark world of Qmaster to speed up Compressor.
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