[Tony Sarafoski]

Keith,

I just want to go over your workflow to make sure I totally understand it.

1. You capture or convert all your rushes to Apple ProRes 422 (LT).
2. In PPro you create a sequence that matches ProRes 422 LT

Do you do this by selecting the HDV/HDV 1080i25 (50i) preset

or do you drag a clip to the ‘NEW ITEM” icon instead?

3. I’m guessing the most important thing is that your VIDEO PREVIEW CODEC is set to Apple ProRes 422 (LT).

Am I right to say after you’ve finished your edit, added filters (like colour correction or brightness/contras), you then render you timeline by selecting SEQUENCE/RENDER ENTIRE WORK AREA?

Do you then select FILE/EXPORT/MEDIA and export it to Apple ProRes 422 (LT) with “use preview” ticked? or do you instead drop the sequence in Adobe Media Encoder & encode it to ProRes LT that way?

[Tony Sarafoski]

This is a response to Keith:

I’m thinking there must be a glitch with the MAC version of PPro CS5?

As mentioned in my previous post, a colleague that introduced me to his PPro workflow, certainly isn’t experiencing render times like this. From what I recall he is running a PC with a 3ghz core 2 duo, 8gig Ram & a Nvidia graphics card that is mercury friendly.

Having read your post I decide to re-captured x2 HDV tapes (using PPro) in the I-Frame MPEG codec.

Here is a snapshot

I then imported all the rushes and dropped them on the sequence icon to create a sequence that conformed to the rushes.

After adding my IN/OUT render markers, I selected FILE/EXPORT and chose the following settings.

Keep in mind…! I captured the HDV tapes using PPro in the I-Frame MPEG codec (which is the preferred code PPro likes to use) and I didn’t add any transitions, filters or effects.

And this was the estimated render times on the latest MacBook Pro 17inch which has a 2.66 GHz Intel Core i7 with 8 GB 1067 MHz DDR3 RAM.

As much as I’d like to edit native files, these render time are ridiculous. It’s back to FCP for me….!

[Tony Sarafoski]

Keith, I’m curious to know what your outcome was by setting your preview to ProRes?

Being a long time user of FCP, I decided to give PPro a crack after a colleague showed me how he could cut native H.264 files from a Canon 5D MarkII. I was so gobsmacked that I decided to give PPro a go on my next edit.

Having already captured my rushes as Apple ProRes 422 via FCP, i down-converted the ProRes 422 files to Apple ProRes 422 (LT) because I was going to attempt using PPro on a MacBook Pro 17inch i7.

Only just completing the edit today, I began preparation to master the final edit to MPEG2.

I mentioned i was gobsmacked at how PPro could handle native codecs, well i was yet again gobsmacked when the estimated time to encode this 2 hour timeline is telling me that its going to take a little over 7hrs to encode.

Please tell me I’m not going crazy nor seeing things, but 7hrs…? The clips on the timeline have “NO” filters, no third party Plug-ins & are as raw as they come (ProRes 422 (LT).

I was hoping to speed up my process, not add hours to render times.

I also tried MPEGing another sequence that had a few MB filters skatered throughout, and it’s telling me that, that sequence is approximating just a little over 13hrs to enode to MPEG2.

I’m feeling very confused at this stage…!

[Tony Sarafoski]

Tim I’m trailing Premiere for the first time, please excuse me for my novice questions.

I’m working with a few clips that were captured using Final Cut Pro as Apple ProRes 422. To create a sequence that conforms to the clip, I dragged one of the ProRes 422 files on the little sequence icon in the projects tab.

From what I understand this should then conform the timeline to the clips settings. Even though, I seem to still get a yellow render line? is this the way CS5 works or am I doing something wrong?

Out of curiosity I decided to capture a HDV tape using CS5, and as you advised CS5 captures HDV in it’s native format (MPEG). Not sure if it’s my imagination, but I’m finding I’m able to smoothly scrub these MPEG files, but it’s not the same case with Apple ProRes 422. Any explanation for this..?

Also I work a lot with Canon 5D MarkII files. I know CS5 can handle these natively, however what’s the best format to transcode these too?

In FCP I’d normally transcode straight to Apple ProRes 422 (LT) before I even attempt to cut them.

BTW my machine specs are:
17inch MacBook Pro
2.66 GHz Intel Core i7
4GB RAM
500 GB 7200 RPM Internal HDD

[Tony Sarafoski]

Thanks for your reply Joey, I figured it out after some further playing.

[Tony Sarafoski]

Sorry Michael, I’m not sure I’ve understanding this correctly. The only setting I need to change is the Pixel Aspect Ratio?

[Tony Sarafoski]

Michael,

I actually down converted the 19020×1080 H.264 rushes to 720×576 ProRes 422. The reason for this was that my machine was too slow in handle a 1920×1080 ProRes 422 workflow, so I thought I’d just downconvert them instead.

To understand you previous post, do I set my timeline sequence settings to:

FRAME RATE: CSSIR 601 PAL Sq. (4:3)
PIXCEL ASPECT RATIO: Square

Then export FILE> EXPORT> QUICKTIME MOVE or FILE> EXPORT> USING QUICKTIME CONVERSION?

[Tony Sarafoski]

[Michael Gissing] “I can see a few things. Firstly you have PAL pixels but your frame rate is set to 29.97?? It should be 25fps for PAL codecs.”

Michael, I originally started cutting this project on a 720×576 25fps timeline, however I struck some technical issues with the original rushes, being 1920×1080 30P from a Canon 5D Mark II. I son realised the jerkiness and changed my sequence setting to 29.97 to mach the 5D frame rate. In the process I forgot to change the frame size too… ooPPss..!!! Anyway not to worry, this edit was only intended for the web for now so I guess frame size and frame rate isn’t that important.

[Michael Gissing] “Secondly quicktime isn’t displaying 16:9 correctly with anamorphic flagged files. That is a quicktime setting. However, if this is intended for the web, you final file should be made with square pixel settings not anamorphic. The final file should be 1024 x 576. This will correctly display on all media players as 16:9 regardless of how people have setup their quicktime or other players.
“

So do I just set square pixel in my sequence setting?

[Tony Sarafoski]

Thanks for that Rob, I’m ingesting right now but once I finish I’ll give this workflow a go.

[Tony Sarafoski]

Sorry Rob I’m a little confused, deinterlace in Compressor for DVD?

Are you able to jot me down your quick workflow?

Rob, is there any easy way or maybe a plugin that will allow me to interlace the progressive footage?