Mixed Codecs

I have footage shot on a Canon XL-H1 - HDV and on a Canon 5d MII.
I have the 5D footage imported in ProREs 422
I have a number of potential sequence scenarios:
1 - using only the Prores 5D footage, no problems
2- using only HDV footage, again no problems
3- a sequence that would be predominantly Prores footage with some HDV
4- a sequence that would be predominantly HDV footage with some Prores.
in the case of 3 and 4 should i be converting the lessor length footage to the the majority format? ie in 3 would it be best to convert from HDV to Prores
When I then want to take them into DVD Pro for say HD output what would be the best way to combine the sequences.
Cheers

in the case of 3 and 4 should i be converting the lessor length footage to the the majority format? ie in 3 would it be best to convert from HDV to Prores
If you feel the need to convert, then yes, convert to ProRes. But you may find you can get adequate performance out of just mixing them in a ProRes sequence without prior conversion.
When I then want to take them into DVD Pro for say HD output what would be the best way to combine the sequences.
Nest them all in a ProRes sequence.

Similar Messages

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.

Send to Premiere Pro - Which codec?

I tested ingesting some sample footage, copying the original footage to a folder, then also two transcodes, ProRes 422 and Prores Proxy each to their own folders.
I then sent the project to Premiere Pro.
Is there some rule about which codec Premiere Pro will link to? Is it the order that the transcodes are queued, or the original media or what?
The Premiere Pro project I ended up with had mixed codec types. Some were native, some were ProRes 422 andsome were Proxy, which is not quite what I'd hoped.
If I know what the rules are I guess I can follow them, but I can't find where these are written down.
Thanks.

I did the test again with multiples cards and different transcode order (copy / mxf / prores, mxf / copy / prores, prores / mxf / copy) and I did end up each time with my first choice into the prelude project.
I'm using Prelude 1.0.2 and Adobe Media Encoder 6.0.2 on Mac OS 10.8.1
I don't know if this has anything to do with it but I allways launch AME before starting ingest (not letting prelude launch it by itself).

Different codecs

I am converting files so that all clips have the same framerate. ( 59.94 ).
Some clips shot on HVX200 are better viewed in DVCPRO HD 720P60, yet some from DVDs are better in MPEG4.
As long as the framerate matches, is it necessary that the codecs also match? Or will different codecs within an project cause problems down the road?
THANKS!
I am using FCP Studio 2., and Compressor 3.05

Shane's definitely right about mpeg4 video in fcp (he's usually right and I'm not happy about it). But to answer your question regarding mixing codecs in the same sequence, generally if the codecs are fcp friendly there are no issues but any clips with codecs that do not match the sequence codec will need to be rendered before export (if this material is unrendered, this render happens automatically when you export but the hit on duration of export and drive space is still there).

Comparing options for editing XDCAM in FCP?

Hello, I'm setting up an edit with 200+ hours of footage for a 90 minute project. It's shot mostly in XDCAM HD 60i. My goal is to get 2 or 3 editors through a multi-month edit while minimizing crashes as the assembly gets longer and the FCP projects get bigger... We expect to have a few other sources that come in as Apple Pro Res 422 or HDV. As far as delivery, we don't know of any reason why we'd have to deliver in XDCAM. We think it'll be graded in Pro Res 422.
Here's what I think I understand from poring over the forum... 3 project setups to choose from, The question is, if you can afford to do it, is C the preferred setup in terms of project stability for a long-haul edit?
(Setup A) The most basic route, editing natively in an XDCAM sequence, with render setting switched to Pro Res 422, has worked for some editors... but not if they start mixing codecs in their sequence...
(Setup B) Shane has suggested a few times to just edit in a Pro Res 422 Sequence. Shane, or others--could you clarify please, do you mean keep the XDCAM media but edit it in a sequence with Apple Pro Res 422 Preset? Also, what does it do better than the above? (Is it less crashy or does it let you mix formats?)
(Setup C) Several editors here have suggested transcoding all the XDCAM camera footage to Apple Pro Res 422 and editing in that... If you can afford the storage space and the transcode time. Is that the clear winner?
If so, what's the best way to transcode in terms of video quality & workflow -- Media Manager, Compressor or any other software? Within compressor, is it better to choose "Apple Pro Res 422 for interlaced media" or just plain "Apple Pro Res 422"? (Again, shot in 60i) Would anyone recommend modifiying a Compressor setting for better results?
Also, this last one is just for curiousity... why is a clip in .MXF so close in size to the .mov that is produced when you import to FCP with XDCAM browser? My colleagues and I were thinking of .mxf files as "compressed" versions of the clips you'll edit with, but do they have the same amount of compression, just one is in an .mov wrapper?
Many Thanks to all!
Jen

>(Setup B) Shane has suggested a few times to just edit in a Pro Res 422 Sequence. Shane, or others--could you clarify please, do you mean keep the XDCAM media but edit it in a sequence with Apple Pro Res 422 Preset? Also, what does it do better than the above? (Is it less crashy or does it let you mix formats?)
Yes, that is what I mean. Make a 1920x1080 ProRes 422 sequence, and edit the XDCAM in that sequence. If you have other formats, convert them to ProRes 422 if you can, or if they are other native formats like DVCPRO HD or HDV, they will mix fine. AVCHD, H.264...those get converted to ProRes.
This is better than Option A when mixing footage types. So if you have ProRes, XDCAM, HDV, DVCPRO HD, DV...this is the way to do it.
Setup C...if you have the time and space....is a fine option too. But Setup B has always worked fine for me and I see no benefit to transcoding, other than not having a render bar.
>Also, this last one is just for curiousity... why is a clip in .MXF so close in size to the .mov that is produced when you import to FCP with XDCAM browser?
MXF and Quicktime are just "wrappers" that house the footage CODEC. Like AVI is the Windows wrapper of choice. MXF can be DVCPRO HD, XDCAM...a host of other formats. What FCP does is take the MXF media, the codec, and just wraps it into Quicktime so FCP can read it better. Just changing how it is housed, not the codec. So the sizes are exactly the same.

Some ProRes clips are off when XML sent to Color

Hey guys, I have a timeline which I have tried exporting an XML and also using "Send to Color" but having an issue with both methods. My timeline is a mix of ProRes 422, AIC codec, 1080P scaled to 720P and 720p native footage. Alot of the footage is RED footage which I have rendered to 720 and 1080 ProRes. I also have HDV footage which has been captured in ProRes and AIC. The RED ProRes footage and HDV footage in AIC I am having no problem with. It's ONLY the HDV which was captured to ProRes. When I pull the timeline into Color, all the HDV ProRes footage has slipped for some reason. I can't figure out why the HDV ProRes is doing that. Everything about it seems to be right. In fact, the only difference I can see between the RED ProRes and HDV ProRes is that the RED stuff is at 7.2mb a second compared to 6.8mb for HDV.
Does anyone have a clue why this is happening and how to fix it? I've got Color 1.51.
Thanks,
Matthew

You haven't mentioned anything about the base framerate of the project.
How did you transcode the media?
And while mixing codecs, resolutions and frame dominances on a sequence sent to COLOR is not strictly speaking an open invitation to disaster, it is the next best thing.
COLOR does not look at source time codes for its I/O points. It calculates those by counting frames from a known point (usually the beginning of the source clip way back there in your Capture Scratch directory, for instance) and making an educated guess about that based on the project frame rate.
That's one of the reasons why keyframes are not successful on speed adjusted media.
There also could have been some kind of error built in on the transcode, where the HDV i-frame could have been misinterpreted.
jPo

My Premiere keeps crashing every time I click export.

I'm using a Macbook Pro Retina with Mountain Lion. This just started happening today after I started using new footage in a project. The footage is H264 Mov and Mp4. However, I have mixed codecs before with no problems.

The link below is about OSX, but it may give you some ideas
http://helpx.adobe.com/creative-cloud/kb/ame-premiere-crash-launch-export.html

ProRes quality inferior to AVCHD on timeline?

I'm doing a large project, mixing codecs. A lot of the material is AVCHD.
I want to standardize all the material to ProRes 422 (HQ).
I converted a bunch of the AVCHD files to ProRes 422 (HQ). The resulting Quicktimes are fine, very clean, when opened singly in Quicktime. When I import them in Premiere Pro CS6 and put them on a timeline ... and play full screen, it looks as if they are needing rendering ... there is a on odd choppiness or bias-issue on the sharp edges. Looks like an old SD codec.
I'm just switching from FCP7 to Premiere Pro, so maybe I'm missing something in the process. Though the conversions from AVCHD to ProRes were done with Adobe Media Encoder.
Ideally I want to be able to work in ProRes, moving back and forth between Mac and PC. Half the people involved are using Premiere Pro in Windows 7, and the other half are using PP in Mac.
Any suggestions would be most appreciated,
Thank you,
Ben

I'm just switching from FCP7 to Premiere Pro, so maybe I'm missing something in the process. Though the conversions from AVCHD to ProRes were done with Adobe Media Encoder.
Ben
Don't transcode anything... edit with your native files, regardless of OS.
You need to break the FCP "everything needs to be ProRes" mindset.
You are needlessly costing yourself time and media quality.

Premiere Pro CS6 to DaVinci Resolve Workflow

In his article at the link below, Walter Bicardi notes that because of errors generated when he attempted to export an EDL from Premiere Pro CS6 for import into Resolve, the EDL kept causing Resolve to crash and he had to send a flattened file of his timeline to Resolve and then use Resolves auto-scene detect feature to chop up the flattened file. He then sent a flattened file back to PP CS6.
http://www.biscardicreative.com/blog/2012/07/continuing-tales-of-an-fcp-switcher-cs6-workf low-for-now/
Is this the only way to send a project to Resolve from PP CS6? Is it possible to use XML, AAF, or EDL export to send the timeline to Resolve, or does this feature of PP simply not work the way it is supposed to? Or is the problem with Resolve?
Any information on how to export the timeline to Resolve without resorting to a flattened file would be greatly appreciated. The flattened file approach would work to a degree, but it is not really an adequate workflow in this day and age.
Thanks,
Kevin

I have been giving DaVinci Resolve 9 (Lite) a trial run this week.
So far, I have noticed it handles FCP-style XMLs better than EDLs. As long as you strip out any APP-based effects (Warp Stabiliser etc), and any Dynamic Links (AFX) it seems to handle general dissolves/levels just fine. I haven't tried it with mixed codecs yet (I've tried H264, XDCAM, ProRes and DPX so far). One potential work around, if you want to convert your entire timeline to DPX and not use Scene Detect, is click 'Send to Speedgrade'. It generates labelled bins with DPX sequences for all your clips. If it's short-form but high quality (say an ad for broadcast), you can swap the files around in the Conform room in DaVinci.
I noticed a few bumps with the EDLs, namely the timecodes not syncing up properly. This might be due to the footage (the project I tried had been shot on a 5D). Hence using the XMLs instead.

PP BenchMark about 29th (?) but 5 timelines stutter/freeze

Dell Precision 5520, quad core, single Xeon CPU @ 2.26Ghz, 12Gb Ram, NVIDA Quadro 3800, 2x WD caviar black 7,200, Vista 64.
(JUST posted this then found PPBM5! will see if that can give any pointers.)
Hi all, Mostly I shoot concerts with 5 cameras giving me these codecs: DVCProHDx2, HDV, AVCHDx2. I put them all on a DVCProHD 720p timeline and PPro does a magnificent job of just letting me get on and edit until I place the 4th or sometimes 5th timelines. I can still continue but then some clips will eventully freeze at which point I close and restart PPro and all okay again but only until the next frozen clip.
I was excited to find Bill and Harm's fantastic PPBM4 programme and completed it. I do not have yet the Relative Performance Index score but my machine ranked 29th on Total Time (14.8 export AVI; 13.2 encode MPEG; 6.0 render timeline). Since the last table update was July 2010, I suspect that the Mercury Engine may have something to do with my scores, and that I will be a good deal much further down the list when it is next updated.
Economics means I am trying to upgrade to specifically help editing more smoothly with 5 HD timelines and mixed codecs. (I am happy with render times.) I have studied the PPM4 chart but cannot determine quite where to put my finger. The upgrade choices seem to be:
add a second 2.26CPU, add another say 12Gb RAM, use Windows 7, 64 (Would this be hugely noticeable?). maybe a faster HD - say edit on SSD for each single concert edit? (then to archive).
I am thinking maybe more RAM, as maybe this would stop having to fetch from the HD so often, but I really don't know enough about how it works.
Could anybody hazard a suggestion as to where I should spend money first? (I will upgrade everything eventually, but need the biggest buck banger right now.)
If you've taken the trouble to read this far, many thanks. I have read most everything Harm has to say in the Hardware Forum, but I am no expert and have not been able to pinpoint my issue yet, so many thanks, especially if you have a (polite) suggestion!
Bowen
Message was edited by: ucwotic

If you could run the PPBM5 test and submit your results, I can still add your data to the update I will make today, because of a lot of new submissions.
PPBM5 does require the full version of CS5, and you are out of luck if you use CS4. A total time of 34.0 seconds in PPBM4 is not very promising if you have CS5 and MPE on. The 14.2 score on the AVI test can mean that your disk setup is not optimal and may be the cause of the stuttering.
PS. Too late now for todays update. Already added another 15 entries.

Multi-Cam with (2) XDCAM HD and (1) EX

I am getting an error when I try to set-up my multi-cam. It does not like to mix codecs. What should be my next step?

wooh ....you are talking about a miricle if you want to have that data intact from moving the mobo's, with no backup ...the fisr2 has a promise ide raid on ide3...
that would be your best bet just to try but it will have to already have the promiserealtek fast drivers loaded....satas dont have jumpers as they only allow one drive per cable.
now if you want to install new drives on sata when your loading 1 you will need a cd or dvd for the windows cd..ide 2 ..and a floppy drive for the floppy drivers you need to set up xp if you want the os on the satas..in not load the os on ide and add drivers latter .
you will need to turn on sata in bios and set raid on as well if you use ide 3 etc..
thats just a primer.....

I am using iMac OS 10.7.2 with Garageband'11 6.0.4. I can't record sound from mixer Behringer X1622USB using USB out. when I connect the mixer to iMac via USB appears USB Audio CODEC on Sound and preferences but no sound from mixer to iMac. Need help.

I am using iMac OS 10.7.2 with Garageband'11 6.0.4. I can't record sound from mixer Behringer X1622USB using USB out. when I connect the mixer to iMac via USB appears USB Audio CODEC on Sound and Preferences but I can't get no sound from mixer to iMac only sound from iMac to mixer. I only can record sound using microphone line in. Please help.

Eric,
Thanks for your reply. Realtek audio works only in playback. There is a stereo mix in the mixer but the recording controls are not operable with no sliders in the mixer for any recording option. Slider controls appear to be grayed out. Can't figure out how to enable them. Downloaded newest drivers to no avail.
The M Audio control panel has no apparent option for recording stereo mix. Adobe ignores the sound from the DVD or CD and shows flatline.
I'm trying to record the sound from the DVD not rip the track.
When I go to Audio Driver Setup and select Audition 3.0 windows sound, there is no input device installed.
I'm thinking of going back to a decent internal Soundblaster card like I have on my 8 year old machine I am replacing.

Add USB audio codec to input mixer?

Hi
I have an audigy with XP SP3. I have bought a USB turntable which came with no drivers but connects to USB. I would expect to somehow be able to add the USB codec into the mixer so I can listen to the turntable without using any other program but I cant seem to add the USB port to the recording mixer.
I can only hear the turntable when I run audacity and select USB input and Soundblaster output.
Any ideas?
Thanks in advance
Steve

My guess is that OS X gets that name from the driver of that Device itself. If that is the case, then you can't rename it. This is the same problem with various MIDI devices that are displayed in Logic with the weirdest names.
However,
you can use a trick if you really want to rename a device so when you open GarageBand it says "My beloved Device". Create an Aggregate Device in the Audio MIDI utility with only that one device. The advantage is that you can rename an Aggregate Device - Voila.
Hope that helps
Edgar Rothermich
http://DingDingMusic.com/Manuals/
'I may receive some form of compensation, financial or otherwise, from my recommendation or link.'

How do I set up stereo audio tracks as default in Premiere using the ProRes 422 codec?

Forgive me if this has been asked many times before. I have searched but can't find anything that explains it in language that doesn't require an advanced degree in computer engineering.
I am a recent convert for our beloved FCP 7. I am learning to love Premiere dearly - but the audio part of it drives me nuts.
I have exported from FCP a series of files as ProRes 422 movies with stereo audio tracks. I want to bring them into Premiere in the same way. But when I do it squashed everything into a single audio file.
This plays havoc with the panning - especially in mixes that have stereo music mixes. Apart from that it just confuses me.
Also. when I create a new project from scratch in Premiere and I select the custom ProRes 422 setting it only allows ProRes 422 mono audio. I don't see a codec for anything else (ie. stereo).
Am I missing something?
I have looked in all the preferences areas and can't find anywhere to change this. I just want to be able to import simple, basic two track audio (and have it show up the same) as I would in FCP, ProTools and the myriad other editing programs I use.
I also want to be able to set up a basic two track stereo timeline/sequence without having to reinvent the wheel.
Many thanks for any help and your patience. I am slowly tearing my hair out and spending long periods sitting in the corner hugging my knees and weeping.
My specs. Preferred editing codec: ProRes 422
Premiere pro version CS6 (6.05)
Thanks again.

Go to the Project Panel, select all clips and rightclick/modify/audio channels.
Set it to 2 tack and mono.
When you drop the clip onto the timeline the stereo will come in on two tracks.
You can also set this to default in the Preferences under Audio (before importing the clips) (Stereo set to mono).

How do I output the smoothest video when changing or mixing frame rates from the original footage?

I have been experimenting with various Media Encoder settings, and wondered if there was anything else I can try to get the smoothest video output possible, especially when changing frame rate and possibly resolution. For clarification, let me start from the beginning and explain what I'm doing and what I've tried so far. I'll try to be as brief as possible, but if I do go into too much detail, I apologize.
My original footage is AVCHD 1080p - 60fps. (my camera only does 60fps...specifically 59.94fps) We're not talking interlaced video here, I'm staying away from that. This is definitely full frame, progressive video at 60 frames (not fields) per second. My output will ultimately be for the web. I have been keeping my output codec (H.264) and bit-rate (VBR 2-pass, relatively high-bitrate) consistent, and have been trying numerous output options and even sequence settings to see what would yield the best results. I am using Premiere Pro CS5.5 along with Media Encoder. Here's what I've done and the results I've observed:
1. I created a sequence with 1080p - 59.94fps settings to match my original footage. I then output both 1080p and 720p versions at 59.94fps, and at 29.97fps. The 59.94fps output files looked absolutely great, as would be expected. Extremely smooth. The 29.97fps output files were generally smooth, but not near as smooth as the 59.94fps. This is expected since it's half the frame rate as my original footage. However, my question is this: What exactly is Media Encoder doing when "down converting" from 60p to 30p? From a technical stand point, is it dropping every other frame? I'm just curious to understand exactly what it does. I tried the Frame Blending option as well, and that only yielded a bit more blur to the images which wasn't desirable for any of the output files.
2. Just to see what would happen, I created a sequence with 1080p - 29.97 settings. I then output both 1080p and 720p versions at 29.97fps. The video was much more choppy in these cases, even with Frame Blending on. Now, I know not matching my sequence settings with my original media isn't ideal, but I again just want to understand why this yields less smooth video than the 29.97fps options above. Why does cutting the sequence settings frame rate in half from the original, then outputting the same frame rate as the sequence yield video that is not as smooth?
3. Next, I wanted to try mixing frame rates to see how Premiere and Media Encoder handled the footage and output files. Premiere handled it great, no issues there. However, I had some interesting things happen when I output the files. Here's what I did: I created a sequence with 1080p - 59.94fps to match my original footage. Then I took the same exact footage that was in my sequence, copied it in my project panel and interpreted it at both 23.976 and 29.97 fps, yielding slow motion video. The slow motion video looked great in Premiere, so I went ahead and just added it to my sequences, along with the original 59.94 footage. I also created separate sequences for the 29.97 and 23.976 footage respectively, each with matching sequence settings, then added a nested sequence to another original footage sequence (with 59.94fps sequence settings) to see which yielded the best results. Basically, I'm trying to output 59.94fps that match my original footage, but also throw in some slow motion footage at different framerates. I'll explain my results in a moment as they are a bit convoluted, however, here is my question: When mixing frame rates and trying to output the smoothest video, am I going about this the right way? I would assume you would use your sequence settings that match the original footage (which is what the majority of the footage will be), then bring in a nested sequence for the slow motion (as oppose to just dropping the slow motion video directly into my main sequence), and then output to the same frame rate of the majority of the footage, in this case 59.94fps. Is there a better workflow for this?
The results to #3 above were as follows. Initially, it looked like it didn't matter if I nested the slow motion sequence into my main sequence, or simply dropped the actual slow motion video into my original 59.94fps sequence. It seemed to produce smooth results either way. Frame Blending blurred the video a bit, but didn't seem to make much difference, and quite honestly I like the footage without Frame Blending in general. However, when I closed down Premiere, and opened the output files later (opening in Quicktime), the footage looked choppy. In fact, it would go from choppy to smooth and back, almost like it had an irregular cadence (don't know if I'm using "cadence" in the right context here). I would then open up Premiere again, import the output footage into my project panel, and play the footage in Premiere, and it would play back smooth again. Is this a Quicktime issue? I was playing 1080p 59.94fps files when this happened, so maybe it's just because it's a large file. Doesn't seem to have issues with the 720p files I created. But it sure threw me off with my testing because I then started second guessing the settings I was using. My iMac is the latest 2011 model with plenty of RAM, so I wouldn't think it's the computer. Thoughts?
4. Next, I noticed on ALL my output files (again, using the H.264 codec from Media Encoder) that the color of my video seemed to flatten quite a bit. It seems that the original footage has more contrast and saturation than the output files. I figured maybe this was just how it was, but when I re-imported the output files back into Premiere, they looked IDENTICAL to the original footage. And in Media Encoder's Source/Output windows, I don't see any difference there either. Is Quicktime again the culprit here, doing some odd things to the color of my videos?
5. Regarding Frame Blending, when is the best situation to enable this option in Media Encoder? I've read it is when mixing frame rates, but I honestly didn't see too much of a change except for a bit more blur, which I didn't care for.
6. Lastly, my conclusion is that 60fps yields the smoothest video, which is an obvious conclusion. However, I know that 60fps isn't the best or easiet frame rate for web delivery. It seems 30p is more the standard. Are there any integrated web players that would play 60fps? Can you get 60fps video on YouTube/Vimeo? If yes to any of these questions, can they do 720p and 1080p at 60fps?
Those are all my questions. I hope I am clear enough without being overly wordy and hopefully I didn't put too many questions into one post. Thanks in advance for any insight, I really appreciate it.

Did you ever figure out which output worked the best? I have the same original footage; trying to determine the best output settings to make a dvd for tv.
thanks!

Mixed Codecs

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