Michael Gissing
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Red Rushes does batch convert from RED codec to ProRes. That’s why I recommended it.
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You will need to create a custom easy Setup.
Select the PAL DV anamorphic. Open up Audio/Video settings > summary tab. Change the sequence settings to ProRes 422 PAL 48khz anamorphic.
As you are not capturing footage, change the capture preset to Generic and the device control to Uncontrolled device. that will stop it nagging for a firewire device like a DV camera or deck.
Unless you have a video playback card (Decklink, Kona etc) select none for video playback.
Save this as a custom easy setup with a really usefull name and description like ProRes 422 PAL 48khz anamorphic 720 x 576. Voila
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Converting RED to ProRes is best done with the RED Rushes. This is available as a free download from the RED website. Please read their documentation on FCP workflows. (yes I know I have said this already but it is worth repeating)
Solving the frame rate problem is another matter. Frankly your camera people need a swift kick for firstly shooting with a 5D and secondly for not at least trying to match the RED to the 5D frame rate.
I live in the PAL world so fortunately I rarely have mixed frame rates to deal with. I am sure the 5D footage can be adjusted to 29.97 and then to 23.976 removing pulldown but I will let others well versed in the demonic world of NTSC frame rates help with that. The 5D will drift sync slowly but probably not so much that it can’t be used for cutaways.
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Frame rates? What did the RED camera shoot? was the 5D footage corrected to match the RED frame rate?
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Is all your audio 48Khz and uncompressed PCM (wav or aif? not aac or mp3?)
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Wow, I hope you have shot the RED footage @ 30fps to match the 5D. Also did you study the workflow recommended by RED for FCP? It is available on the RED website.
From what you have said so far, I think you are on the verge of disaster. Take a deep breath, back away from editing anything yet and re think your whole workflow.
Preferably everything should be in the same codec, pixel aspect and frame rate. Working with RED proxies is not the recommended workflow. The 5D shoots 30fps H264 files so they do not need to be converted to H264 but ProRes as has been covered here a bazillion times.
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Why does the audio drift and what needs to be rendered -video or audio? How are you fixing the drift?
Perhaps if we solve the real issue the render issue will be moot.
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The standard Easy Setups depend on what sort of I/O cards you have. In my case I have a Kona3 so there is an Easy Setup in SD for ProRes 720 x 576 anamorphic using the Kona to output to an external monitor and control a VTR via RS422 etc.
If you have no I/O cards, there still should be an Easy Setup for SD ProRes 720 x 576 anamorphic PAL, 25 fps. Check your Easy Setups and let me know if one like that exists. If not then we can create one and save it for future use.
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I would advise yo to use Compressor to go straight from the 1080 50i to the NTSC mpeg2 file for DVDSP. This has been covered a lot on this forum so search for specific recommendations for Compressor settings. This will take a long time to render and won’t look great.
However, I never offer to do this though. When I hear the “zero budget” argument against doing it in real time properly with a Teranex, I realise that the client doesn’t value my time or the quality of the finished product. At that point I usually ask why not and miraculously it either doesn’t need to be done or they find a few hundred bucks to do it properly. If you want to sweat blood and use your time to do reinforce the ignorant belief that it can be done for nix,then go right ahead.
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Search here for Canon 5D threads. The Kodak shoots the same H264 codec at the wrong frame rate with the added extra of encoding the audio as AAC.
You need Compressor to convert all of those issues to something FCP is happy to edit, but search first as this has been more than dealt with.