Editing with Kodak zi8 footage for air - VGA setting

Hello. I shot with a Kodak zi8. I used the VGA setting. I couldn't use the HD settings b/c my Mac is old and doesn't handle HD. My FCP is 5.0.4.
So now I am editing in FCP. The Kodak .MOV files are:
H.264 Decoder, 848 x 480, Millions
AAC, Stereo, 48.000 kHz, FPS 29.97
My FCP sequence is:
720x480 NTSC DV 3:2
Pixel Aspect Ratio NTSC-CCIR 601 DV 720x480
Anamorphic 16:9 is checked
Field Dominance Lower
Editing Timebase: 29.97
QuickTime Video Settings
Compressor DV/DVCPRO - NTSC
When I bring in the clips the red render line appears. Am I working in the correct sequence settings?
Also, is this level of quality too low for local (no high-brow nationally-aired spot here) broadcast? I think it's going to be passable but would like to hear your opinion.
Thanks very much.

You can't really edit H264 in Final Cut Pro.
Use Compressor or MPEG Streamclip to convert your files to an editable codec that FCP works with natively. A list of those codecs can be found under the Easy Setup menu.
MPEG Streamclip download link and my tutorial [here|http://discussions.apple.com/thread.jspa?threadID=2070861&tstart=0].

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I'm having the exact same problem. I have the Kodak Zi8 as it outputs a .MOV file and the result in Quicktime is choppy/stuttery playback. The Fip UltraHD camera does the same thing. I would really like to use quicktime rather than the Impressions player, but for now that's all we can use, and it looks great I just wish Quicktime would look this good. Hopefully we will get a helpul reply on this issue.

Dropped frames on MultiCam editing with Canon XF305 Footage

Hello,
I recently purchased three Canon XF305 series cameras and have been conducting a series of tests to determine the best recording format and editing workflow. First, does anyone have experience with these new Canon cameras?
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However, when I setup a multiclip sequence with the three cameras, the render bar turns green and I'm getting all kinds of dropped frames on playback. Is this a computer processor issue, drive speed, or codec? The multiclip is the only time I have trouble -- once I collapse the multiclip, I can edit fine without any drop frames.
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but my experience with the 305's in ProRes is that it makes it a bigger file(more than double)
Of course it will. XDCAM is a highly compressed format. ProRes is a larger file type, higher data rate. It will be larger. Did you not notice that the ProRes footage from the 5D were also about 5 times larger?
and still needs to render.
If you worked in a ProRes timeline, then you shouldn't need to render. If you still do, than something is wrong. Create the file...make a new sequence, cut this into that sequence...FCP will make the settings match. If it does this, and you STILL need to render....you did something wrong.
when I actually converted to ProRes, it seemed like it was more taxing on the computer, took up twice the hard drive, and more than three times the time to transcode compared to native.
It is less taxing to actually edit with. GOP formats require the computer to constantly process the GOP footage to show you frames...since there are no real frames in any GOP format. Well, there are 3 frames every second, then a bunch of pictures, and the computer has to guess what is next by looking at the frames, and then the pictures, and make up the in-between. PRORES is a full frame format...no guessing, no computing. And larger files are not more taxing on the computer...they might require faster hard drives...and larger ones, but they are less taxing. Yes, longer to convert than native, but when that is done, things are easier.
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How much computer is enough computer to do editing with Adobe Elements 11 for the PC?

I've migrated away from SONY Vegas MovieStudio for the reason that it could not render out smooth-playing files for upload to the internet (I suspect SONY codecs are not so good). I find that my 4-year-old H/P Pavilion w/ AMD Athlon II 4-core CPU is not up to the task of editing with Adobe Premiere Elements 11.
SOLUTION: I've recently replaced the old machine with an off-the-shelf Hewlett/Packard Pavilion desktop computer, model p7-1515. This is a current model as of April 2013.
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UPGRADES I WAS ABLE TO PERFORM MYSELF: The hard drive cage allows for the addition of just 1 additional hard drive and I have added a second 1 TB SATA drive. Memory has been increased with the addition of a second 8Gb RAM module. I downloaded and installed Apple QuickTime 7.7.3.
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As this posting is not a 'question' per se, the board moderator might wish to relocated it. Just thought my experience might be worth sharing with users looking for a 'budget-friendly' desktop machine. Disclaimer: I am not associated with H/P and have no monetary interest in the sale of their products.

video4success wrote:
Windows 8 has presented no problems at all, Steve! I'm shooting 1920x1080p AVCHD with a Panasonic Lumix FZ200. I use Premiere Elements project preset 'AVCHD 1080p'. I render out (from Premiere Elements 11) using the 'Vimeo' template found under 'AVCHD'. I'm a happy guy!
Amazing camera, including when it is used for video. If you like birds and wildlife shooting get the Panasonic brand tele extender lens.
In my experience, your work flow is both simple and reliable. I've done it many times. I too am happy!
Bill

Rendering problme with Kodak Zi8 clip into FCE

Greetings: I am trying to import a Kodak Zi8 clip into Final Cut Express. I run it through Mpeg Streamclip to transcode it from h264 into Apple Intermediate Codec and set the frame size in Streamclip to 848X480. I open a sequence in FCE, making sure the Sequence Preset is set to Apple Intermediate Codec 1080i50. But when I try to lay the clip into the timeline I get the red line of doom that the video is unrendered (although the audio is not). What am I doing wrong? I have also set the Easy Set-up to Apple Intermediate Codec.
Douglas

Open the file in the QT player and report exactly what it says in the movie inspector. There is no such video frame size.
If that is the size, then it's standard definition. You need to convert to QuickTime using the DV PAL codec (if you're in Europe) at 720x576. In the Options box set it to 16:9 because it sounds like it's supposed to be anamorphic.

AVCHD editing with CS4 works fine for me

I saw a couple of threads discussing AVCHD with CS4. I was waiting quite a long time for Premiere Pro CS4 - tried some other applications in the meantime with no success - but now I can say it was worth waiting. I have a Quad Core Intel 2,4 GHz, 8 GB RAM, Vista 64, NVIDIA 9600 and editing AVCHD footage (1920x1080 50i, PAL, captured in my Panasonic HDC-HS9 with highest quality level of ~17MBits/s) is really good, although some artifacts (some, not many) are shown in the preview monitor. But editing is really fast, preview-playback within Premiere also. I have to render effects but after rendering, they are also very smooth.
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Rendering to H.264 is roughly 3-4 times slower than rendering MPEG-2, but I have only done it for a sample video of 1 minute. The resulting Blu-Ray was also perfect from picture quality point of view (no difference to MPEG-2 except the volume size of the resulting file), but my PC needed much more time to render 1 minute video using H.264-BluRay than it needs for a MPEG-2-BluRay export.

>> Rendering to H.264 is roughly 3-4 times slower than rendering MPEG-2
...hmmm... this brings me back to the question I just asked elsewhere, which is: How does one properly export AVCHD to H.264 for Blu-Ray without loss of quality? Being as AVCHD *is* H.264, shouldn't the "transcoding" here basically amount to copying the existing data? I'd expect it to be WAYYYYY faster than exporting to MPEG-2 :-/
3-4 times slower than MPEG-2 would basically be a non-starter for me; I have a quad-core box with 4Gb RAM, and it took nearly 8 hours to turn 45 minutes of AVCHD (no effects) into DVD MPEG-2. Source and target were both interlaced. Strangely, exporting the interlaced footage as progressive cut the time by more than half :-? I didn't care for the choppiness of the result, however.
Cheers,
Aaron

Can I covert 480i to 1080p and edit with new 1080p footage?

I have a Surf Video shot 4 years ago at 720x480 30i (mini-dv) and I want to add more footage to it. I shot on a Panasonic ag-dvx 100 and edited on my G5 with Final Cut 4. I will be buying a Panasonic hvx200 and a Mac Pro.
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but the footage I have in 4:3 would actually look better in 16:9 if I lose the existing top and bottom of the frame (mostly blue sky). So could I make the conversion and also "zoom in" to fill the 16:9 frame with the 4:3 footage? Is that possible? And if it is possible... would it look really bad?
It's not a simple question at all. Depends on your budget for upconverting software, your tolerance for pixelation, your ability to stylize your older work creatively, and your release medium..
Upconverting is easily researched on Google. There are two processes, one is a simple expansion and the other relies on the creation of pixels where there none. Takes a lot of time and the best tools are not free.
However, there's no need to upconvert your old SD footage if you're going to downconvert your new HD footage on the way to a conventional SD DVD.
bogiesan

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When I bring my scenes to edit in Premiere CS3 I can't figure how to set up the project so the the final out-put is non-interlaced. I want the quality of the final movies to be as clean (non-interlaced) as my source movies.
I would like to work in non-DV format since my source movies are made from square pixel art (Flash & Photoshop). This process works great in Premiere 5.1, is it possible in CS3?
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Jim,
Thank you for responding to my post. My question is can I edit and output in Non-DV format (non-interlaced video) with CS3?
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[URL=http://imageshack.us][IMG]http://img155.imageshack.us/img155/2331/interlacevsnoninter lacehc8.png[/IMG][/URL]

Does Final Cut Express Work with Canon XF300 or Kodak Zi8?

Question... I JUST purchased Final Cut Express 4. Ihave a Cannon XF 300 and I have the XF plugin software but it doesn't to appear to have worked.
I used the same software at work..except work computers use Final Cut Pro and it works beautifilly... How did you get your Copy of Express to recognize your MXF files... or any files that came from your Canon XF for that matter?
While I'm on that note.. i alternatively use a Kodak Zi8 HD for vlogging and Final Cut tells me it can't recognize the files... ***?!? They're MOV files! Isn't that a native to apple format?
Feels like I ****** away almost 200 dollars..

The Zi8 records to .mov files but uses an H.264 codec. A QuickTime .mov file can be created using any one of a long list of audio and video codecs. Just because it's a .mov file doesn't mean it's compatible with any & every app.
The XF300 records to MPEG-2 Log GOP
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Can I dumb down my footage for easy editing and use an edl (edit decision list) with the original..

Can I convert my footage to something Premiere Elements can handle easily and then use an edl with the original footage to get the quality I want?
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I use DigitalMedia Converter 2.7 (an older version) from Deskshare, and it does great batch conversions. However, I have never used it for H.264, so cannot comment. It is shareware, but they have a trial. Going back many years, the trials were fully functional, but limited on the time - 30 days, IIRC.
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Editing for air but no broadcast monitor

Hello. I hope you can help! I edited a :30 from footage off a Panasonic P2 camera (data files) that I treated like DVC50 NTSC 720x480 anamorphic. I do not have a broadcast monitor. The producer has one though, in another state. My question is, how to best color correct? Do I just follow the fcp scopes and go with that, or do I export out an fcp file or a QT file of the sequence and send it to the producer, who can then bring that into an fcp project and view it in the broadcast monitor? Or will levels be too far off with that export?
Thanks so much for any light you can shed.

Scopes don't help your eye see the colors...judge how red RED is...or how far you can crush the blacks before people can't see anything, or how washed out the image might be. So unless you have a broadcast monitor, you cannot judge. Sure, your Producer will be able to see...but then will he do the color correction? Or will you try to do some sort of long distance over-the-phone color correction? Not that he will then be able to see what you are doing.
The best you can do is make it legal...whites and blacks hitting within legal limits. You won't have any reasonable way to tell what things look like.
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Suggestions for creating a multiclip with SD & HD footage?

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Yeah, I get what you're saying. I'm just debating on whether it will be more efficient to do that and have the availibility of the HD footage to 'play' around with for panning/zooming, or is the time savings of having a true multiclip more advantageous....
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Editing with Kodak zi8 footage for air - VGA setting

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