Alex Petrovitch
Forum Replies Created
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Shooting on Canon 5d/7d.
What’s the workflow?
You can edit natively (H264) in Premier. Then apparently you can’t color in H264? Should one export your sequence in H264, then transcode final export with MPEG or various others to ProRes, then color from there?I’m leaving FCP7 b/c I want 64 bit performance. And I love not having to transcode everything. Transcoding only the final sequence seems good to me. What does everyone suggest/advise as the workflow?
And I’m guessing you can’t go from Premier to COLOR to Premier right? What coloring program does Premier agree with?
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About to jump into the CS6 game.
Question. I’ve read y’all’s threads.
Using dSLR footage, from what I understand you can
1) Edit natively – Correct?
And if I want to export to Pro Res I can
2) Set Pro Res export settings within CS6?
3) Export as h264, then transcode into ProRes using MPEG streamclip?Lastly – it seemed that DaVinci does NOT work w/ H264 from your post above? Does that mean that I will have to do steps 2 or 3 from above (use prores in davinci, then have to shoot that back into CS6 as a pro res file, or Re-compress to h264?)
that seems like some crazy workflows….thoughts??? -
There has to be a way. I will let you know when I find it. I’m assuming that you’ve tried everything on Compressor.
Ed Burns just shot a movie “Newlyweds” on the 5D MkII, and it looks great on my Apple TV when I view the trailer on my TV. Now, maybe Apple iTunes does a better job of encoding, but there is definitely a way.
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Thank you for responding!
So on DVDs, there is NO way to get about 480 on it?
You must burn to a BLU-Ray, and have a BLU-RAY player to have anything above 480? -
I thought you couldn’t make DVD’s in 1920×1080?
I thought all of us had to compress movies to 480? -
Jerry,
Thank you so much for your response. I will try the CBR/8mbps advice that you have laid out.
And I am very excited to see the results!However, let me give you a little more info. I shot a feature on a Canon 7D. You are right, it is not
4K, 35mm, Red, Alexa, etc. It is a simple 1920×1080 HD. But, I still am curious because I know the movie
“TINY FURNITURE”, the TV show “WILFRED” with Elijah Wood, and the Fox’s TV show “HOUSE” have all
been shot on the 7D/5D cameras. Which leads me to ask you about the “compression boards” that you
mentioned. Are these different software? Different hardware? When you say “not cheap”, what are we talking? And let’s say I wanted to send this to a company then to export/compress properly with this
high quality, do people do this service? I live in Los Angeles, I would assume so? Do you think these movies and TV shows I mentioned used these compression boards that you mentioned? I’m guessing “compressor” is then the “cheapest” program out there and really shouldn’t be used for professional use?Thank you again for your response. I
Alex
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Dave,
If I may, I would like to jump in here.
Which is higher quality?
1) PRO RES 422 HQ – Send to compressor – create mp2, ac3
OR
2) Export QT current settings (PRO RES 422 HQ), then drag into compressor.Aren’t they the same thing?
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Evan –
Did you ever get a response for the best quality export for a DVD to match those of studios? -
Got it.
So LOW bit rate = artifacts and mosquito noise
High bit rate = gorgeous picture.So there is no negative to high bit rate??
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Wow, thanks for the info.
Then let me ask you this,
if SD is at 4-5, and then theoretically HD is 16-24,
what happens if you did 1-2 for HD? or 38-39 for HD?
What should I see on either end of the spectrum w/ bit rate? How is the picture affected? What do I look for? That will help me find a place to reach.I did a H.264 w/ 14/17, and it looked “fine”, (thought it’d look better w/ all the Blu Ray hype) below the 16-24 you said, and I’m wondering how far up I should go, but I wanted to know what happens in either extreme so I know what to look for, if I should go higher, lower, etc.
It took 24 hours to export. ugh.