[David Baud]

On Mac I would recommend ProRes 422 HQ (depending on the footage matters). On PC you may want to run some test, but doesn’t Resolve 11 support the creation of ProRes files internally? Otherwise if you need a single file container, Cineform might be another option (at a price). If you can wait, AVID just announced DNxHR for the end of the year which will support 4K and above resolutions.

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

If you’ve got a speed ramping effect in Premiere Pro, FCP XML does not carry this information to Resolve 11. One way to deal with it, is to bake it beforehand or if you want to retain the latitude of your original footage, you could do a round-trip between Premiere and Resolve, and reconstruct the effect on your graded shot.

There are two ways you can setup linear speed effect in Premiere: one is using Time Remapping under the Effect controls tab in the source monitor panel: FCP XML will not retain that information. The other way is to select your clip and choose in the local menu Speed/Duration… and then select the new clip duration: FCP XML will retain that information and Resolve 11 should interpret it correctly.

HTH,

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

I am right now grading a feature film documentary with some of the raw footage (dng sequence files) being shot with the FS700/Odyssey at different frame size & rate. Like in your case, production generated ProRes proxies for editing. Now I am in charge of conforming and grading. The film was edited in Premiere Pro CC.

One of the issue I encounter is sometime the proxies do not reconnect automatically to the dng sequence: I have to manually select the folder and everything works fine. I am still trying to understand why is that and if I can find the culprit in the workflow. I was not in charge of creating the proxies, so I am wondering if all the metadata have been passed correctly to the proxies.

Have you had a chance to run a small test on a few clips and see if you get the result expected? which editing software will be used in your production?

I’d be curious to know what ever you find out on your side.

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

As a general rule, if you don’t have to I would avoid transcoding. If your system can handle playing back AVCHD codec, I would not transcode. If you are just editing without any heavy compositing and effects, I would not transcode. In terms of quality, if you transcode from one compressed codec to another compressed codec, you will loose some quality. How much? it will depends…

If you need to transcode your AVCHD footage, I would use an intra-frame codec with the least compression as possible. Apple ProRes, or Avid DNxHD are good candidates.

As far as the difference between MPEG-2 and H.264 (which is a subset of MPEG-4), H.264 should be a much more efficient codec than MPEG-2 (it was introduced later, higher bit rate and improved algorithms). Both are based on long-GOP compression.

My final thought: we all have different needs and goals, therefore we need to create a workflow that makes sense with our particular project. I would recommend to test first before getting into a big project.

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

First I would make sure that your footage is correctly interpreted at 23.976 when you import it in Premiere Pro. Then to eliminate any issue related to Premiere processing, I would cut your commercial in your native frame rate (I believe it should be 23.976 because it is wrapped up in a 59.94 video stream). Then I would create your master (for broadcast it must be 1080i59.94) adding pull-down: I usually prefer to use After Effects for that last step, because I feel I have more control, but with some experimentation you might be able to achieve the same with Premiere Pro.

Also remember that is part of the issue when you are shooting at 24: you have to understand the acceptable speed of your pan to avoid “stuttering”. If you’ve got Twixtor plugin, you may want to see if you can smooth things out.

For future shooting, and if you are not afraid of more post work ;-), you may want to experiment shooting at 29.97 (that will allow you to have extra frames for your pans and motion), cut at 29.97, then convert to 23.976 (to get your film look), before adding pull-down for your master.

Good luck,

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

Not to make things more confusing, but do you have access to a system with Adobe Premiere Pro / After Effects with a CUDA card? In my experience the uprezing is of good quality, I believe better than Resolve itself… so I have not done any thorough comparison with a Teranex converter…

FWIW,

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

Actually if you read the comments following the blog on yakyakyak.fr you will notice that TF1 decided to use FCPX in the field in replacement of FCP7. It looks like they are still using AVID (Media Composer / Isis / Interplay central) in house, in particular for their primetime news.

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

You need to use a font that is compatible with Chinese characters: not all of them are. This is why you are getting a square symbol in lieu and place of the correct Chinese character.

Do you know Chinese? if not I would make sure you have a Chinese speaker/reader who can review your subtitles.

Good luck!

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

Thanks Tero. Right now (in the Link media window pane) I have tried with File name checked and all the others unchecked:
. File extension
. Media Start
. Tape Name
. Clip ID

With that configuration Premiere is not able to relink automatically.
I have Align Timecode, Relink others automatically checked as well.

To give you an idea here is an example of a proxy file:
140328-OdysseyCLIP0000034.mov

Here is the corresponding original Cinema DNG images sequence

folder name:
140328-OdysseyCLIP0000034

inside of this folder first DNG file starts like this:
140328-OdysseyCLIP0000034_0000000.dng
140328-OdysseyCLIP0000034_0000001.dng
140328-OdysseyCLIP0000034_0000002.dng
etc…

I was not involved in generating the proxies so I am hoping the metadata are the same. I am just wondering if Premiere is capable to recognize automatically images sequence.

Do you know what Media start means? isn’t it similar to timecode information?

Thanks.

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[David Baud]

If your master is 1080p anyway, I would edit in a 1080p sequence so you can take advantage of reframing/stabilizing if necessary.

When you will add your 4K clip in your sequence, in your clip Effect Control/Motion tab, a scale of 100 means you will use the maximum zoom in quality if you want. Depending on your 4K pixels count, a scale of around 50 will fill your 1920X1080 frame with your 4K footage.

David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com