Olin Padilla
Forum Replies Created
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It sounds like you are dealing with multiple issues. Are you planning to convert the PAL footage to progressive HD? If that is the case, then maybe you should skip the NTSC step in compressor. Converting between two kinds of interlaced media is complicated, and might get messy.
If you re-post with the exact specs for the PAL footage and the delivery specs, then I can give you a much more concise answer.
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Is the ex1 footage DVCPro-HD? If so, I have edited Prores footage with DVCPro-HD on many occasions without any hassles, needs for renders, or quality degradation.
I agree with Craig’s thoughts on offline/online. I don’t see any reason not to transcode the Canon footage to something more final. Standard ProRes has never done me wrong, even on really slow computers.
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Craig, I’m wondering how true this is.
If the h.264 is already compressed to 8bit 4:2:0, than is the extra information in 422 even valid? In other words, does the ProRes 422 codec actually recover more information from the h.264 than the LT does, or is the higher bit rate just redundant data? I always assumed the latter.
If 422 is actually producing better results, then why not use HQ or 4444, and where do you draw the line?
I have never heard a logical answer to this, but if you have one please let me know. Thanks.
Jason, what are you planning to project with? If you are eventually planning to print to film, then you may as well buy a nice big drive and not risk it.
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Disregard my last post. I didn’t read close enough.
I was not able to immediately solve this problem using either Compressor or MPEG Streamclip.
Good Luck.
P.S. In my experience, small changes in resolution like that will not change the file size much, or allow for much lower of a bit rate.
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According to that document, the only acceptable sizes are 1080i and 480i.
May I ask what you need with such an odd sized MPEG-2?