Best Sequence for mixed footage

Gurus,
What is the best sequence settings to use if mixing HDV 720p, HDV 1080i, 24p, and Standard 29.97 NTSC DV formats in the same project? Final delivery will be SD DVD/and web.
Thanks in advance!
Matt

I will be mixing a small amount of beta/miniDV footage into the sequence
How will you be bringing this in? DV I see as via firewire, but beta? If you had a capture card, you could upconvert those to HD ProRes.
So, Do I upconvert the SD to ProRes, and work in a Pro Res sequence?
Yes.
Or do I down convert the Pro Res to SD, and work in the standard DV NTSC perameters? Again, I'm finishing to SD DVD/Web. Appreciate any advice!
Well then, downconvert the HD to SD and work in DV/NTSC.
Shane

Similar Messages

HD or DV sequence for mixed footage

I need some advice from someone who has mixed DV and HD footage. I have a show recorded with DV using a Panasonic DVC-30 and HD24p with a Canon HV20. Both are anamorphic. I need to mix the footage for my final product.
The biggest issue is that when I use a DV sequence and add HD footage to it, the HD footage is unacceptably bad, jagged. I understand it has to lose information in the downconversion, but is there a setting or a filter I can add to tweak this?
If I use an HD sequence, the dv footage is small. If I blow it up to match & render out to DVD, the HD footage looks fine but the DV footage doesn't match.
If i let the camera downconvert, the footage looks just as bad as when FCE does it.
pardon the naive question, but why does the hd footage looks fine when you reduce the size of the window? Shouldn't it suffer from the same type of loss?
I guess I assumed when I shot this (yes I realize I should have done more extensive field tests first) that the downconverted HD footage would look better than it does. Are there tools/filters that do a better job?
Thanks for your help.

It turns out that the HD footage is blown up after all, which accounts for some of the 'jaggies'. If you reduce the hd footage in the dv sequence to about 50% scale it matches. You're right about the canvas rendering being lo-res as well.
Thanks!

Best settings for mixed codec doco project

Hi
Please forgive me for asking what I am sure has been asked before, but having done a few searches I was still unsure as to what is the best approach for this project.
I have just come over to FCP from Avid (hence knowing very little about FCP), and have a documentary project that I want to cut in FCP.
It was mostly shot on XDcam EX 1080/25p 35mbps, but there is a fair amount of B camera footage that is DVCProHD 1080/25p 100mbps
The general concensus seems to be to open a project in the format that is most prevalent i.e XDcam EX.
As this project is only going to be offlined in this system, and then conformed elsewhere, and as I would like to be able to have all the media on one drive so I can cut on the workstation and on my laptop where necessary, it seems sensible to use a more compressed offline res as there is well over 100 hours of footage.
Any guidance would be greatly appreciated as I don't want to cut in a codec/format that is just going to give me headaches when it comes to doing the conform, or during the edit got that matter.
Cheers
Adam
Specs:
Workstation - 2 x 2.4GHZ quad core Xeon, 16GB ram, 1TB system, 2TB primary scratch, 4TB external media drive (shared with laptop)
Laptop - 2.8ghz core i7, 8GB ram, 500GB internal drive, 4TB external media drive (shared with workstation)
FCP 7.0.3 running on systems

>it seems sensible to use a more compressed offline res as there is well over 100 hours of footage.
Sorry Avid-man...going to have to let go of your "offline/online" workflow ideals. There is no offline in FCP. Well, it is best if there isn't. You will...SHOULD...be working with XDCAM and DVCPRO HD at full resolution. So your cut will then just be color corrected. 100 hours of XDCAM is 1.7TB. 100 hours of DVCPRO HD is well...5.4T TB...but you will have a mixture of the two. I had 80 hours of DVCPRO HD and all that fit on 2TB...but then again, that was at 720p. Still...unless you REALLY know what you are doing...unless you have an FCP expert on staff...do not offline/online.
ANYWAY...I don't know who this "General Consensus" is, but they are WRONG. They couldn't be wronger if they wanted to be wrong about being wrong. Well, they are wrong. NEVER edit ANYTHING that is not XDCAM in an XDCAM sequence...not unless you like crashing a lot...and then blaming FCP for sucking and not being as good as an Avid....because you will do that if you follow this General person's advice.
No...Use a ProRes sequence setting, and edit both on that. XDCAM is a GOP format...no real frames...just a group of pictures. So if you throw a real frame format onto that...crash city. But use ProRes...and you will be fine.
So use both formats natively...don't try to go offline/online. And edit both in a ProRes sequence.

What is the best compression for HD footage for online use?

I have a sequence with the following specs:
HD (960x720) (16:9), HD 960x720 aspect ratio, DVCPRO HD 720p60 compressor and need to output a 300x250 file for an online banner.
Was wondering what you think the best looking compression would be for me to use plus whats the best way for me to keep the aspect ratio consistent within the new dimensions.
Any help would be much appreciated! thanks!

While a lot of people have Flash, not all of them have the latest version (or even the previous version). Newer versions of the Flash Player support better video codecs. I still encounter people (corporations) that are still only using Flash Player 7…

Sequence / Export Settings for Mixed Footage, Various Outputs

Using variety of footage from a Canon XA10, Premiere titles, After Effects Titles, stills in a variety of nested sequences.
In one of my sequences where I used the XA10 to set sequence settings it was interpreted as AVC-Intra 100 1080i. The problem I had was one Premiere title showed interlacing no matter what I tried to remove it. The only thing that worked was to change the sequence settings to AVC-Intra 100 1080p. When I exported it the interlacing was gone.
Other sequences from Digital Juice footage have native settings of ARRI Cinema Field: No Field Progressive. Eventually all these sequences will be lined up on a master timeline.
So my question is for individual and the master timeline sequence what settings should I use, or should I not care about it and let exporting settings take care of it? This project will be rendered to:
1. DVD with menu (Recommended export settings?)
2. Windows Media Computer file (Recommended export settings?)
I've read many threads that say wait till export, but my H264 exports of the AVC-Intra 100 1080i footage and Premiere titling had interlacing in Windows Media playback.
Thanks.

Thanks Kevin. I had seen Photoshop pop up a lot during my researching the problem, but was unsure if that was the best way to go for my specific problem. Tried it out, and I'm headed down the right road now, just have to tweak output settings. Thanks!

Best format for HDV footage online

I'm wondering what format people are using to export their HDV footage for online consumption.
I've tried all the preset avilable in PP CS3 and either the quality sucks or the file size is way too big.
I've seen a bunch of HDV footage online and some incredible looking video (really HDV quality looking) but can't seem to get the correct settings to achieve that.
It is also possible I don't understand all the pull down kinds of things. I'm shooting at 30f. The footage is primarily intended for online/computer rather than HDTV.
Also does smaller dimensions automatically mean reduced quality? I've seem some great looking HD quality videos online and the "HD" quality is quite apparent.

Steve,
Dimensions that will be effective (for online purposes, assuming the visitor has a high bandwidth connection).
I believe 1/4 the original size of HDV will be a good starting place. So that's 480x 270 (or is it 360x270).
That's the other thing, I see some HDV online that seem wider than others. Is that because they were shot using 24f?
I've tried the various formats the media encoder allows for. I'm not really happy with the resulting quality of any of the formats. As mentioned to Christopher, the smaller I make the dimensions the worse the quality gets.
The Quicktime format in particular sucks (at least with encoded using PP CS3). The resulting video looks completely washed out and artificial). I have seen other people post their footage using quicktime and it looks great (no color correction).
The other question is: Seing that the main intent is for online purposes, should I shoot at 720p instead?

Best compression for HDV footage

i got a 15 minute final production that was shot in HDV, im new to compressor but did a sucessful export and test viewing this morning , but im not sure if it was the best setting or if there are tweaks that should be made.
i used HD DVD MPEG-2 30 minutes
Dolby Digital Professional 2.0
HD MPEG-2 19.0Mbps
any tips appreciated.

There are always tweaks. I would make sure that the attributes for the setting I'm using are correct for my source. You know, right frame rate, field dominance, etc. I guess you've figured out how much space you have vs. what you need, so playing with the bit rate doesn't sound like it's something you're worried about. Compressor has some filters that may or may not be useful. It can preview them in the preview window. I would only make my final determination after viewing my DVD on a real player piping out the signal to an t.v. or ntsc/pal monitor. Given that you've successfully created your stream, right now it comes down to art.

Best Formula for Timelapse footage

I have heard everything from rolling on say some clouds for set amount of time with the camera locked down on a tripod and then speeding the footage up to like 2000% in FCP. I have heard some people achieve a smooth time lapse by using a still camera to capture the images. For those that have done smooth timelapses please share your thoughts and suggestions. There is a show I watch on A&E called "The First 48" that uses a ton of smooth timelapse footage during the show. I want my footage to look like that.

Hello DVX100Shooter,
the most important factor for me is the location - make sure you film somewhere, where nobody will step into the accidentally
It all depends very much on what you want to shoot. If your timeframe for filming is not longer than 15 min you can easily get away with simply importing the clip and speeding it up in FCP - it does look smooth enough.
For shots up to an hour, I would recommend a different capture software that actually captures your footage at a rate of, say, 1 frame/sec. I like to use BTV Pro for that (http://www.bensoftware.com/) and the results are very good. I then import the resulting clip into FCE and adjust the speed/duration to my needs. This has the obvious advantage that your HDD is not being filled up with hours of video, in order to create a few clips.
Another capture software is iStopmotion - it kept crashing on me, but others have reported excellent results.
If you want to produce the kind of amazing clips, you see sometimes in documentaries (e.g. from sunrise to sunset in 10 sec.), you'll have to employ different methods of shooting, as you will have to get all the footage on one tape (changing tapes will interupt - unless you're very fast :-)). A major problem can be power supply, when shooting outdoors .... you'll need good planning and logistics here.
Professional camcorders can capture real time lapse, whereas consumer and prosumer models only do so-called "interval" filming (e.g. they shoot 1 sec every 30 sec). This will result in a very stuttering video.
I have read somewhere on discussions that Adobe Premiere has a function that lets you control the camera, so you can capture single frames at reguar intervals. That would be an excellent tool for extended timelapse capture - granted you keep the power up and running.
I've heard good things about building timelapse shots out of single photos taken with a still camera, but have to say I have no experience with that.
hope this helps
mish

Best Configuration for Mixed Network

How critical is the choice of which machine is Controller?
Our setup is:
• G5 2GHz (Dual)
• G4 733MHz
• PB 1.25GHz
• Mini 1.5GHz
The G5 will be the only client, because that’s where the editing is done. Every computer, including the G5 will be a service node. The question is, where is the controller best run? On the G5? Or on one of the other service nodes? If one of the others, which is the likely candidate?
G5 Dual 2GHz Mac OS X (10.4.7) 2.5GB RAM
G5 Dual 2GHz Mac OS X (10.4.7) 2.5GB RAM
G5 Dual 2GHz Mac OS X (10.4.7) 2.5GB RAM

Should they be running on the same channel (as with the "Extend" option previously? Or just both on Automatic channels?
I would recommend the Automatic setting on both devices because this will allow each router to scan and choose an open channel automatically. If you want to set the channels manually, keep them separated by at least 4-5 channels. You would not want to ever use the same channel for both devices in this type of "roaming" setup.
Is there a way to limit bandwidth per device (or action) so that it doesn't monopolize the network and keep other devices from using it?
Nothing that I am aware of. It sounds like you have some young users who are likely visiting Bit Torrent sites, which will really gobble up the bandwidth with big, heavy downloads. The Time Machine has to back up the same files again when it makes the next pass, so that clogs things up again.
Backups would go 3-5 times faster, on average, if the computer(s) could connect using Ethernet, but I understand that wires are not cool with the younger crowd.
should BOTH the TC and AE be set up in Bridge mode?
The AirPort Extreme should be set up in Bridge Mode.
The Time Capsule...it depends. If the TC is connected to a simple cable modem...then the correct setting for Connection Sharing would be "Share a public IP address" on the TC. That is because a simple modem has only 1 IP address to deliver. The TC takes that address and "shares" it with other devices by setting up a local network for all your other devices.
If the TC is connected to a gateway....a combination modem/router in the same box that usually has 3-4 Ethernet ports on the device....then that device would be considered the main router on the network and the TC would be configured in Bridge Mode in that case to function correctly on the network.

Mistakenly created HDV sequence for SD footage

I didn't figure this out until I finished editing, but...
I mistakenly created an HDV sequence (1440x1080) and inserted SD anamorphic footage into it.
My question is, even if I change the sequence settings to SD anamorphic, will this affect the quality of the video, or does FCP automatically realize the footage is already SD and no changes are necessary?
I'm worried that the footage was upconverted then downconverted...

Correct, after you paste your old sequence into the new one, you'll have to go to each clip on the timeline, right-click (cntl-click), then select remove attributes, and check basic motion and distort. You may also want to check Filters as well since FCP most likely applied Shift Fields filter automatically, but checking that box will also remove any other filters that you've applied in the original sequence, such as color correction.
I'd like to know if there's an easier way to achieve this if anyone can lend to the discussion. I have had to go through several 22 min sequences and do every clip and graphic individually.

What's the Best Method for Upresing Footage from SD to HD?

We've got a project we did for a client that they would like to be upresed from 720x480 at 30fps interlaced to 1080i. Is there one method that is better than another?
Thanks.

Here is a second vote for Red Giant Instant HD. It is very good, though will never be anywhere as good as starting with HD material. Still, it should get you by OK.
Hunt

Mixed footage in CS5

Hi
I want to make a sequence with mixed footage. The footage is both DV PAL WS and AVCHD. I make a DV PAL WS sequence, but when I import the AVCHD it is not automaticly resized to fit the size.
Is there a way to automatic make PPRO resize to seq. settings and/or how to do it for individual clips?
Thanks.
/Ulf

Found out something myself...
I can right click and chose "match frame size". Thus gives me almost what I want, just with 2 tiny black bars in each side. Can You strech it the rest to fill the whole size?
Thanks.
/Ulf

What is the best way to setup premiere sequence for export when mixing 24fps and 23.976fps for final

What is the best way to setup a premiere sequence for export when mixing 24fps (CG) and 23.976fps (live action) for final output at 23.976 (vimeo and such).
Right now my sequence is at 24fps, and when I export to 23.976, my dialogues seem to shift.
Should I set my sequence at 23.976fps instead of 24fps?
Thanks in advance for the help, and sincere apologies if this is a noob question.
David

That makes it easy. Remove the CGs from the project. Go to Edit>Preferences>Media... and set the Indeterminate Media Timebase to 23.976. Then when you import the image sequence, PP will assign it the correct frame rate.
Edit in a 23.976 sequence.

Sequence settings for 1080p25 footage?

Dear all,
I'm using Final Cut Pro 7 on a Macbook Pro.
I have shot some footage on 1080p25 but there is no East set-up or sequence setting specifically for this in the menu.
Can someone tell me which is the best sequence or project setting to edit this footage in?
Thank you,
Richard O'Sullivan

Hi,
In reference to the question above, I should have added that I shot the 1080p25 HD footage with the Panasonic HVX 200 and it is DVCPro HD.
Thanks,
Richard

What's best strategy for dealing with 40+ hours of footage

We have been editing a documentary with 45+ hours of footage and presently have captured roughly 230 gb. Needless to say it's a lot of files. What's the best strategy for dealing with so much captured footage? It's almost impossible to remember it all and labeling it while logging it seems inadequate as it difficult to actually read comments in dozens and dozens of folders.
Just looking for suggestions on how to deal with this problem for this and future projects.
G5 Dual Core 2.3 Mac OS X (10.4.6) 2.5 g ram, 2 internal sata 2 250gb

Ditto, ditto, ditto on all of the previous posts. I've done four long form documentaries.
First I listen to all the the sound bytes and digitize only the ones that I think I will need. I will take in much more than I use, but I like to transcribe bytes from the non-linear timeline. It's easier for me.
I had so many interviews in the last doc that I gave each interviewee a bin. You must decide how you want to organize the sound bytes. Do you want a bin for each interviewee or do you want to do it by subject. That will depend on you documentary and subject matter.
I then have b-roll bins. Sometime I base them on location and sometimes I base them on subject matter. This last time I based them on location because I would have a good idea of what was in each bin by remembering where and when it was shot.
Perhaps, you weren't at the shoot and do not have this advantage. It's crucial that you organize you b-roll bins in a way that makes sense to you.
I then have music bins and bins for my voice over.
Many folks recommend that you work in small sequences and nest. This is a good idea for long form stuff. That way you don't get lost in the timeline.
I also make a "used" bin. Once I've used a shot I pull it out of the bin and put it "away" That keeps me from repeatedly looking at footage that I've already used.
The previous posts are right. If you've digitized 45 hours of footage you've put in too much. It's time to start deleting some media. Remember that when you hit the edit suite, you should be one the downhill slide. You should have a script and a clear idea of where you're going.
I don't have enough fingers to count the number of times that I've had producers walk into my edit suite with a bunch of raw tape and tell me that that "want to make something cool." They generally have no idea where they're going and end up wondering why the process is so hard.
Refine your story and base your clip selections on that story.
Good luck
Dual 2 GHz Power Mac G5 Mac OS X (10.4.8)

Best Sequence for mixed footage

Similar Messages

Maybe you are looking for