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Forums Apple Final Cut Pro Legacy What codec should I use that is small enough to transfer over the web AND is good for editing?

  • What codec should I use that is small enough to transfer over the web AND is good for editing?

  • Adam Guzewicz

    October 15, 2012 at 5:36 pm

    Our prores transcodes are too big to exchange with our editor over FTP (it would take days). We need to turn a spot around quickly (within a day) and have heard that h264 is not a good codec to edit with. I think I remember running into syncing issues often as well. What would be a good codec to use in this circumstance that will still be high enough for broadcast TV?

  • Shane Ross

    October 15, 2012 at 6:35 pm

    DVCPRO HD. That’s the lowest you can go. But I still think the files will be too large for FTP. Might be time to suck it up and shell out the dough for FedEx overnight delivery of a drive. Clone the drive with the media on your end so all they need to send back is the project file and you can relink to the media on your end.

    Shane
    Little Frog Post
    Read my blog, Little Frog in High Def

  • Adam Guzewicz

    October 15, 2012 at 6:54 pm

    Cost isn’t an issue and we ship same day all the time. We simply need to produce this faster than same day shipping would allow.

    Getting the project file from the editor is a good idea and we may go that route if h264 gives us issues.

    I can’t believe there isn’t another solution. Anyone do this kind of thing regularly?

    I used to be on a PC and would get some quality small avi files using wmv. But we need to keep this one mac central and without sync issues.

    It doesn’t need to look totally uncompressed – just close. h264 quality looks great. Any way to make “better” h264 files w/o the sync issues?

    Does reconverting the files out of h264 fix sync issues?

  • Shane Ross

    October 15, 2012 at 7:33 pm

    If quality isnt an issue, then compress to h.264, send, and then convert that to ProRes. Edit and then they will need to do the final compression. Because metadata like reel number won’t carry over, and timecode might, but might not.

    Compressing three times won’t be ideal, and might cause undesirable compression. But if you are OK with that.

    Better H.264s are possible with higher data rates. But that makes larger files.

    Shane
    Little Frog Post
    Read my blog, Little Frog in High Def

  • Andrew Kimery

    October 15, 2012 at 9:48 pm

    Another option might be Pro Res Proxy and pay to use a commercial file delivery service that offers accelerated transfers (kinda like YouSendIt but on steroids). When I was with MTV we used one (I can’t remember the name off the top of my head) and we would toss around hours of 35 Mb/s footage between SF, NYC and LA pretty easily. Of course even with the acceleration your internet connection speed does factor into how quickly the files are up/downloaded.

  • Mark Raudonis

    October 16, 2012 at 2:55 am

    You want your cake and eat it too. Ain’t gonna happen. Either you buy a “fat pipe”, accept the slow delivery, or accept crappy quality. There is no “magical” solution . Broadcast quality? Pro res lt I’d about as low as you get.

    Mark

  • Christopher Delaine

    October 16, 2012 at 3:33 pm

    Good, Fast, Cheap.

    Pick 2

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