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XDCAM EX 24p/sequence 29,97/render/prores?
Hi,
I read a lot of thread about the subject “XDCAM to PRORES” and I can see a lot of opinions. I’m just trying to find the better way to do.The shooting is with the EX1, in 24p so the native codec is XDCAM EX. I have to edit in FCP in a 29,97 timeline because it’s the final fps needed for the broadcast show. In my timeline, I have to mix different codec. The packaging is in Animation, the footage in EX and a lot of pictures (.psd, tag etc…). I use a Kona 3 and the final output is on HDCAM.
So.. my questions are:
– Wich sequence setting? (Prores, XDCAM, uncompressed)
– Which render setting? (Sequence XDCAM with Prores Render Setting?)
– Did I have to convert the footage to Prores? If yes, witch Prores?
– If i convert the footage to Prores, with Mpeg Streamclip by example, it is better to change the frame rate there to have the same fps the the final project need?I know that just because the fps of the footage is different to the final fps needed, i always have to render something but I want to be more efficient and limit crashes. I have to do a lot of color correction and I have between 4 to 6 video tracks.
It’s a lot of questions, I know, but maybe somebody understand and can qive to me the answers!
Thanks!
Daniel Laurin,
TV Director, Captiva Productions -
4 Replies
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[Daniel Laurin] “I have to edit in FCP in a 29,97 timeline because it’s the final fps needed for the broadcast show.”
That’s not necessarily true – the Kona 3 can output a 24p sequence to a deck at 29.97fps and automatically add 3:2 pulldown. If you’re doing a rigidly timed show for broadcast with commercial breaks, etc. then it might be necessary to edit in a 29.97fps sequence. If you only need to output a complete show with no breaks, using the Kona to output a native 24p sequence and letting it do the frame rate conversion and add 3:2 pulldown could save you a ton of rendering time.
I’d recommend soliciting the opinion of an expert like Shane Ross who is intimately familiar with FCP, the Kona 3 and broadcast deliverable requirements.
Have the packaging assets already been created at 29.97fps? If so, you will need to first use Compressor to transcode your 24p XDCAM EX footage to ProRes 422 @ 29.97fps with 3:2 pulldown added, then edit in a 29.97fps ProRes 422 sequence. FCP 7 does not properly add 3:2 pulldown to 24p footage placed in a 29.97fps sequence, it simply duplicates every 4th frame (2:2:2:4 pulldown), which looks absolutely atrocious and will probably get your deliverable rejected.
If you need instructions on how to use Compressor to transcode the 24p XDCAM EX footage to ProRes 422 29.97fps with 3:2 pulldown, let us know.
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Thanks Alan!
So if I have to work with 29,97 fps sequence for some reasons, your idea is to convert all the footage EX before editing and work in a proves sequence. It’s a longer process before editing but will be more stable. Better to work without GOP codec?
Thanks!
Daniel Laurin,
TV Director, Captiva Productions -
Since XDCAM EX is a more lossy codec than ProRes, it makes more sense to transcode to ProRes. You may also get better editing performance with ProRes, but to be fair, FCP actually handles XDCAM EX fairly well. In a cuts-only edit with no graphics or filters you probably wouldn’t see much difference, but for anything else, ProRes wins. In general, you can’t go wrong with ProRes as long as you have enough storage.
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Thanks again!
Daniel Laurin,
TV Director, Captiva Productions
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