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What FCP sequence settings for a project with footage from 3 different cameras (5D/7D, HVX300, EX1)
Hello all,
thanks in advance for any opinions/advice.
I am about to receive 21 hours of footage to cut into 3 short (2 minute) video’s for delivery for web only (can deliver whatever format I want).
The footage was shot over a couple of years. The footage was shot on HVX300 and EX1 mostly with a little bit also shot on the 5D and 7D.
I’m trying to figure out what my base sequence should be. I will be sending this to a colorist working in Da Vinci before delivery and he will probably be connecting back to the original files.
Also – in addition to transcoding the 5D and 7D, should I transcode the other footage so I am editing everything in one format…?
Thanks for any and all advice!
On a May 2012 IMAC, editing off a thunderbolt drive, FCP 7.
– Jesse
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6 Replies
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[jesse mendelson] “On a May 2012 IMAC, editing off a thunderbolt drive, FCP 7.”
[jesse mendelson] “Also – in addition to transcoding the 5D and 7D, should I transcode the other footage so I am editing everything in one format…?”
Editing in FCP7, I would most definitely conform all footage to one resolution, one codec, and one frame rate. This will help in FCP as well as when you hand it off for color grading in Resolve.
Given your editing platform, ProRes would be a natural fit for you (either (LT) or standard ProRes depending on space limitations).
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Thank you both. Thoroughly appreciate your input.
I just received the footage and there are over 2000 files, NOT labeled/organized by format. In the first of 75 folders I’ve seen 3 files types already.
I did a test with each of those file types and a PRORES final cut sequence and the sequence took all of the files without needing to render.
Since colorist would be going back to the original files anyway, I am wondering if it is crazy to just cut with all these mixed media formats in the same sequence? It will take so much time to transcode every single file. It’s POSSIBLE – I haven’t checked yet – that they are all 29.97.
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[Dave LaRonde] “Many people before you have tried to sidestep the all-important step of transcoding, and many have lived to regret it… typically near the end of the project, when it’s too late to turn back.
Now it IS your project, and you can do what you want. But if it was my project, I would want to know that I had done everything possible at the beginning to make the project as painless as possible at the end.”
Very, very well said!
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
right. good point. actually so far i haven’t come across any h264 footage. seems SOME of that was already transcoded to prores – so it’s more about the mixed formats than about the compressed/non-transcoded formats…ie XDCAM + HDV + PRORES…
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Before in FCPRO 7 I could exactly choose size compression and all the rest for my sequences settings. I could also trim the size of hd footage in a sd sequence. Where as now the choice is very limited in FCPRO X, when you create a sd sequence, if you want a custom sequence, like utube sized sequence, the only way to force FCPROX to do so seems to be ti import a first clip in the timeline with the adequte size, then when you bring a HD footage in it reduces it to the size of small sequence and gives 100 for size parameter in transform panel. Its weird and not practical. is there any way to correct this ?
Jean -
Ok sorry for the previous post, the solution was already available here in this very thorough tutorial,
so there is a work around for this:library.creativecow.net/articles/payton_t/FCPX_Custom-Resolution-Timelines/video-tutorial
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