[Michael Gissing]

There is no reason to change anything with your edit. Stay with the ProRes and your HD sequence settings. Once the edit is complete you can use Compressor to make a file in a suitable format for playback of a computer.

Talk to the people who are doing the screening to determine a suitable file format to use for playback. As Kevin said, that may be a good old DVD or it may be H264 depending on the playback computer type & media player software being used.

[Michael Gissing]

Hard to follow Rui and I appreciate that English is probably not your first language.

Are you using FCP? You mention PC. I think your question is how to solve a lag between computer screen and output to TV. Is that the problem?

[Michael Gissing]

A DVD is SD not HD, regardless of the original source. Not sure what you have done with the Streamclip rip or how it does a deinterlace, but Compressor will do a better job of deinterlacing. Use Frame controls to deinterlace.

Experiment with a short section to see what settings work best.Also search this forum for deinterlace as it is a common and well answered topic

[Michael Gissing]

[David Roth Weiss] “”an edit that’s one sample off is a bad edit.””

That’s a bit harsh. There are 2000 samples per PAL frame so I would say +- 500 samples for sync. For a dialog edit, yes we go right down to the sample level to fix clicks or take to edge off a plosive.

[Michael Gissing]

Considering they dropped FW400 from the newer Mac Pros and the I/O debacle of the iPad, I guess Apple is intent on creating devices that increasingly don’t talk to the outside world.

[Michael Gissing]

3 Frames is gross not slight. Audio pros agonize over sub frames. It drives me nuts that my LCD has a half frame latency and I can only compensate playback delay in frames.

[Michael Gissing]

Broadcast TV is interlaced. Most common delivery format is digi beta for SD and HDCam or HDCam Sr for HD. They may take a file but as Stephen says, ask for format details.

Your sequence should be 1080 50i. If you don’t have a Kona/Matrox/Declink I/O card then you might need to send a file to a facility for transfer to tape if that is what is required. That file is likely to be ProRes 1920 x 1080 50i if the facility can handle that format, but again you will need to liase.

H264 is not common in broadcast and it is highly compressed so it isn’t an editing or interchange format either. It is a web delivery format and increasingly a camera original format.

Many broadcasters transmit mpeg2 from transport streams with muxed audio. If that is what is required then Compressor can likely handle the deliverables.

[Michael Gissing]

I presume you have FCS3 because that codec wouldn’t be on your system for Compressor to use so if it working there then it points to Juicer. were you using a standard frame size like 1920 x 1080 or is this 2K or higher frame sizes or non standard?

I suggest you contact Digital Juice.

[Michael Gissing]

Timecode and reel numbers have a significance downstream from the edit. I do a lot of reconforming of sound tracks for different versions of international docos. The only way we can accurately track the recuts is to use software that compares two EDLs and creates a change list.

EDLs need shots with unique timecode & reel numbering to work. Otherwise the information is useless. So for the sake of those further down the supply chain, please always make sure that all file based jobs have the timecode and reel numbering done properly. Reversioning audio is a nightmare compared to reconforming a simple picture track. We end up with anything from 24-48 tracks with automation across all tracks, aux sends, stems and master busses.

If Streamclip gives everything the same code and reel, you will need to manually add reel and code information without repeating timecode on any clip in the same reel. Log & Capture starts to look a whole lot faster.

[Michael Gissing]

Red have software to convert on their web site. They also have a lot of documentation and advice on FCP workflows. Visit their site and study.
Information about your final delivery would help with more specific advice.

Basically use RED rushes to convert to ProRes. It is a batch process and although slow, it is recommended over using log & transfer. The flavour of ProRes depends on which version of FCP you have, plus drive speed and frame size you will be working with. If you are creating a ProRes4444 project with 2k frame size, you will need to be sure you have big enough and fast enough drives.

Also you post path round tripping to Color should be planned in advance. Maintain the same file names as the RED files if you ever intend to grade and then relink the RED media to the grade. Lots of potential pitfalls, but you are on the right track with the transcoding of the RED files to ProRes, rather than using proxies.