Warren Morningstar
Forum Replies Created
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Thanks, Jon. For the sake of a newbie (video is a tertiary part of my job so what I know I’ve taught myself on my own time – and i only know Adobe windows products), let me see if I understand the process.
The client (actually the boss, and pretty savy about video) shot the original with a Sony PMW-EX1, meaning his footage was encoded in an MPEG-2 variant. When he brought it in to FCP, the footage was re-encoded in Apple’s ProRes intermediate codec — somewhat analagous to the Cineform codec in the Windows world. He cut the piece, then rendered it out to QuickTime using an XDCAM setting. Trouble is, not even QuickTime knows what to do with that MP4 wrapper. Fair assesment? If he had exported it to QT using the ProRes setting, I could have read it. Have I got it? -
Sadly, my client believes that if the file ends in .mov I should be able to read it. Can you point me to any resources so that I can understand and then explain why outputing an XDCAM HD encoded file in a QuickTime wrapper is not necessarily universally understandable?
Thanks,
Warren -
Ah, there’s the rub. The boss cut the piece in FCP and exported it as a QT file. No BPAV files available. I guess the only option is to ask him to re-export it using a codec that Premiere will recognize?
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Thanks for the response, but no joy. Still tells me missing or unavailable codec. Won’t play directly in QT either. Should I be looking for a codec someplace?
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Premiere supports the Canon 24F mode, although you might have to download the presets from Adobe if you don’t see them in the menu.
One capture solution is to get a Canon HV20 or HV30. Either one will play back any mode that the XH-A1 records. They’re pretty good “B” cameras as well. And it’s much better to wear out the heads on an $800 camera when capturing than wearing out the heads on a $4,000 camera…
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Is QT animation a lossless codec? I’ve been trying to find a good workflow for my green screen stuff. I shoot HDV and use Cineform Aspect to encode, then cut the key in AE with Keylight. I prefer to bring the matted footage back into Premiere to add the keyed in elements because AE is too slow and cumbersome on my machine. I have a difficult time matching my edits and insertions to the audio. (Maybe I’m doing something wrong in AE, too…) Aspect doesn’t support an alpha channel, so I can’t export back to Premiere using the Cineform codec.
Thanks for the advice.
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So how would you find out which driver is stable with CS3?
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It may be that my second hard drive doesn’t spit out data fast enough for Cineform. Or there may be some other variable in there. I haven’t tried very hard to figure out why because it’s not critical to what I do. If I have to edit on the laptop, it’s usually for something that needs to be posted to the Web quickly. So I downconvert the video in the camera and bring it in as DV. And my laptop, which is now getting a bit long in the tooth, handles that just fine.
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I’m running CS2 on a ThinkPad T42 (1.60 GHZ Pentium M – single core) with a 2nd hard drive in the megamedia bay and 3 gigs of RAM. Works just fine with SD (DV) video. I’ve cut a lot of things in the field. It will handled HDV (mpeg) timelines if they are simple and you have patience. Tends to choke if you try to use Cineform Aspect intermediate codec.
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Thanks Ann & Mike for the suggestions. I try to avoid putting things in a new sequence because I’m working with HD (Cineform encoded) footage and it takes so long to re-render the keyed footage. Seems kind of silly that Premiere has to re-render something that’s already been rendered just because it’s been dropped into a new sequence with no changes. But I don’t pretend to understand how it all works under the hood. I had tried fading in black video on top of all the tracks, but that caused the colors to shift (face went purple during the fade). But maybe that was just the way my computer monitor displayed it. I hadn’t checked the final product yet on a TV monitor.