[Enrico Lappano]

I really appreciate you help and feedback at this time.

How do I make sure the geometry is full HD? Can’t seem to find a setting that I can check.. only in Pixel Aspect, and I’ve set that at “square.”

[Enrico Lappano]

The compressed footage will be edited in a ProRes 422 30P 1920×1080 FCP sequence, and final delivery format will be a Quicktime file transferred to both Blu Ray Disc and DVD for projection onto a theatrical large screen (depending on the kind of player available in the theatre). Any workflow suggestions are appreciated.

I thought that the XH-A1s records 30P in a faux progressive mode and so acts like one. But I am not an expert and would love to get it clear. The 7D is progressive. I do not know if there is interlacing between formats?

Though I am not changing frame rates, should I still 1) turn on Frame Controls to set the Resize Filter to “Best”, 2) should the Output Field be “Progressive” or “Same as Source” and 3) do I leave the Deinterlace window as “Fast”?

I’ll change the Pixel Aspect to “Square” (had it at “Default for size”).

Any help with this is much appreciated.

[Enrico Lappano]

Because the XH-A1s shoots 1440×1080, I was advised that in order to match the sequence and 7D’s 1920×1080 frame size, I should convert the XH-A1s clips to ProRes and up res scale size (to 1920×1080)in Compressor. If I do that, should I also be turning on the Frame Controls? As well, in Frame Controls, should the Resize Filter be set to Best and Output Field to Progressive? Is there anything else to consider?

Perhaps I could use Media Manager to identify/assemble all the XH-A1s clips at one time to convert?

[Enrico Lappano]

Another way of phrasing the question would be if both cameras are converted to one ProRes 422 codec, is it still a noticeable issue that their Field Dominance is different (XH-A1s is normal and 7D is odd) on the ProRes 30P sequence? If this is a problem, can I correct it in any way?

I would appreciate any help on this question.

[Enrico Lappano]

Originally, I transcoded all the footage with the 2 cameras to HQ ProRes, but was told by some other people also that it was overkill. Because my monitoring system is basically a modified to 16:9 (with Intensity Pro) JVC SD monitor, I can’t really tell between the HQ and regular ProRes resolutions. Upon completion, the doc project is intended to play on large cinema screens.

Further, are the differences showing with the Field Dominance between the 2 cameras when all footage has been transcoded to Regular ProRes and dropped onto a ProRes 422 1920×1080 30P sequence (the Field Dominance from the 7D is Upper/Odd while the HX-A1s is None) an issue?

I really appreciate this feedback and it seems like it’s getting close, and hopefully soon with finality to edit with confidence. I hope there are other people out there who are using the 7D and HX-A1s combo that this thread could help too.

[Enrico Lappano]

That is how my XH-A1s was set up for recording. Checking the “Comp. Out” item, it says 1080i which I thought referred to interlaced, but perhaps I am wrong.

The difference between the 7D (which I’m pretty sure is fully Progressive) is showing in the Final Cut Pro workflow. Both cameras in my 2 shot interviews (the XH-A1s and 7D) are set to 30 fps. But when I export them each in Pro Res 422 and drop them into a ProRes 422 1920×1080 30P sequence timeline, the Field Dominance from the 7D is Upper/Odd while the HX-A1s is None.

I need to use both cameras (XH-A1s and 7D) in my FCP edit. How do I set up the workflow in Final Cut Pro to match the footage from both cameras?

[Enrico Lappano]

I shot material at 24 and 30 frames and when I check my signal set up on the HX-A1s, the only option it seemed to give was 1080i/480i. I really hope I’m mistaken but I thought that was interlaced and 1080p is progressive. The 7D I believe is true 1080P (progressive) which I’m shooting 2 shot interviews along with the XH-A1s. Again, I could be mistaken but I’m coming from an SD background and this is my first project in HD. So I’m trying to understand/resolve the workflow with these 2 cameras.

I appreciate your feedback and any suggestions clarifying this issue are most helpful at this time.

[Enrico Lappano]

I have captured test XH-A1s footage in ProRes 422 and also exported a sample 7D clip to ProRes422 in Mpeg Streamclip. When I drop them each into a ProRes 1920×1080 30P (both clips are 30 fps) Sequence in FCP 7, the HX-A1s message window only asks about changing the resolution size from 1440×1080 (which I think is ok). But the 7D clip message window asks to change the Field Dominance from None (which is the original sequence setting) to Upper/Odd.

How can I make sure that footage from both camera sources are matched in ProRes 422?

I would very much appreciate any help on this.