Offline/Online Edit for xdcam footage

I am using Sony F3 camera and Sony FS100 footage with final cut 7. Both have different format, One use XDCAM and other use AVCHD. I didn't have any problem transcoding F3 footage in its native form and FS100 footage in Prores LT for offline edit.
I wanted to edit both in proRes LT as offline edit. I was also able to convert both footage in ProRes LT and edit it.
But the problem arised when i was reconforming for online edit. I wanted to connect both as ProRes HQ. My offline footage was able to reconnect with both but for XDCAM it connected to native instead of proRes. Is there way to connect it to ProResHQ?
Thanks in advance

Yeah. Take the native stuff offline. Disconnect the drive the files are on. If they are on the same drive as the HQ...separate them.

Similar Messages

XDCAM offline-online editing

I'm trying to edit XDCAM offline, but can't really find a useable workflow. What I've tried so far is:
1) Convert XDCAM files in Media Encoder to DV
2) Edit DV
3) Mark DV-Clips as offline
4) Re-Link with XDCAM clips
The problem is the XDCAM folder-structure which makes it necessary to relink every single clip one by one, as they are hidden in subfolders.
Any ideas??

Get a better PC so you don't need to edit offline?

Best "Capture" workflow for projects mixing HDV tape and XDCAM footage

I'm trying to determine the best workflow for projects that combine XDCAM and HDV footage.
I'd obviously do the editing in a project designed for XDCAM, as that's the higher quality footage,
and render the HDV clips in the XDCAM timeline...ending up with an XDCAM end product.
I'd use SONY'S XDCAM TRANSFER to get the clips into FCP.
My question concerns capturing the HDV footage in this scenario. I've never been able to get
the Log and Capture feature for HDV footage to work, unless I've created an HDV project and am capturing into that HDV project.
So, generally, I create an HDV project, open the log and capture utility which is now set to capture HDV, and then capture the footage. I then close that project and create a new project, designed for XDCAM footage. I use XDCAM Transfer to get the XDCAM footage into the project, and I import
the previously captured HDV footage into that browser and start editing, rendering the HDV in the XDCAM timeline.
My question...do I really have to open, what is essentially a "fake" HDV project just to capture that HDV footage? You don't seem to have the option of capturing HDV footage (out of a camera or HDV tape deck) directly into an XDCAM project. If I try to change the capture or audio video settings of the XDCAM project to HDV, you get messages saying you can't do it.
Is there something I'm missing or a more streamlined way of doing this?
Thanks in advance for any input.

No need to jump through these hoops. Just set yourself up with a universal Easy Setup that will handle both. Choose your regular XDCAM HD Easy Setup then open the Audio / Video Settings window and change the Capture Preset to "HDV" and the Device Control Preset to "HDV Firewire" ... then click the "Create Easy Setup" button and save it for recall whenever needed.
Regarding the overall workflow, I'd seriously question the idea of creating XDCAM HD masters. No real benefit to that unless you need to export to XDCAM HD. Much better would be export your final master as Apple ProRes 422.
Best
Andy

How to you export a project to a laptop (offline edit) then back to desk top(online edit)

im trying to figure out how to move a project from my imac to macbook pro when i travel, then when i get back home i can finish it out on my imac. Offline online editing.

You could make the project and event on an external drive and move the drive from machine to machine.

Best way for working offline/online?

I edit my RED files in Prores SQ 1024x576 when doing offline. Online is done in Prores 4444 1920x1080.
I´ve tried different ways to convert the project in FCP from lowres to highres, and I´m now using XML. I choose 1920x1080 as sequence settings when importing the XML, but I then have to reconnect with the online files, remove filters from the offline etc. I also have to create a new project before importing to avoid reconnecting with online files in the offline timeline too.
Is there a easier way to do this?

It's more complicated than that. There are four flavors of 422.
There's a complete section in the FCP7 manual about using REDCODE media.
There's a complete explanation of the Pr Res codecs in the FCP7 manual.
Final Cut Pro 7
Professional Formats and Workflows
Working with Apple ProRes
Apple ProRes is a post-production format designed for pristine quality, economical hardware configurations, and high-performance, multistream Final Cut Pro real-time editing—for film, digital cinema, high definition (HD), and standard definition (SD) workflows.
This chapter covers the following:
About the Apple ProRes Codecs
Types of Apple ProRes Codecs
Working with Apple ProRes Codecs
Apple ProRes Format Specifications
Apple ProRes Tips
About the Apple Intermediate Codec
bogiesan

SQL Server Enterprise support for Offline / Online Application development

Hi,
We have suggested to use the SQL Server 2012 as Database for our Enterprise application. We have the Offline/Online two set of application. Can you suggest any offline database to sync the Online SQL Server database.
Thanks,
Sethu

What is an offline database?
One can setup an "online" database and an "offline" database using SQL Server 2012 Enterprise Edition.
SSIS packages can be used to synch data between the databases:
http://blogs.msdn.com/b/jorgepc/archive/2010/12/07/synchronize-two-tables-using-sql-server-integration-services-ssis-part-i-of-ii.aspx?Redirected=true
Kalman Toth Database & OLAP Architect
SELECT Video Tutorials 4 Hours
New Book / Kindle: Exam 70-461 Bootcamp: Querying Microsoft SQL Server 2012

Disabling document downloads while allowing for online editing.

With IRM I know that you can prevent documents from being downloaded as well as printed, but whenever I do so, it disables the ability to edit the document. Is it an integrated setting where I can only have both or neither? I am not concerned
with people obtaining the data through online editing, but rather just removing the save/download option so it lowers the chance of user error. The people are trained and informed, I just want to limit the chances of sensitive data being accidentally
downloaded.

That should be possible in 2013 with Office Web Apps. This is the guide for Office 365 but I think you can configure the same settings with on premise.
http://www.dotnetmafia.com/blogs/dotnettipoftheday/archive/2013/03/28/configuring-and-using-irm-with-office-365-and-sharepoint-online.aspx
That implies that you should be able to the behaviour so that it's just in OWA...?

Quicktime codecs for reading XDCAM footage

Recently updated the software on my Mac Pro tower (circa 2008) and now Quicktime only plays audio of XDCAM footage, but not the video.
Quicktime plays regular mov, mp4 and mpeg videos just fine so I've isolated the probem to just XDCAM 1080 24p footage.
I think the codecs for reading XDCAM footage were lost or overwritten during the update, is there any way to reinstall or retrieve them?
If not what are the proper codecs for Quicktime to play XDCAM footage?

I also had a similar problem to most people here. Cannot playback XDCAM files after upgrading from 10.5.8 to Snow Leopard 10.6.8. I called Apple who suggested a fresh install of Snow Leopard without upgrading the 'ProApps QuickTime Codecs 1.0.3' and copy the contents of the Library/QuickTime form the fresh install into my QT library. However, I decided to seek the file(s) that is the cause which is the AppleHDV.Component file. I copied the faulty one to my desktop (so I had a backup) and downloaed:
PerianXDCam.component.zip -> PerianXDCam.component
PerianHDV.component.zip -> PerianHDV.component
from this website: http://blog.lib.umn.edu/mcfa0086/discretecosine/164630.html
Once unzipped, copy into the Library/QuickTime folder and this should solve your problem, until Apple and Sony resolve this issue.
Good Luck,
MAK

New user to FCPx. I lost the timeline and footage I have been editing for 5 days. Can I go back 2 hours in FCPx to retrieve it or is it lost forever?

Help!!!!
New user to FCPx. I lost the timeline and footage I have been editing for 5 days. Can I go back 2 hours in FCPx to retrieve it or is it lost forever?

What version are you using? Were you editing inside a project, or did you open a clip into the timeline?

Why is the download "Not applicable" for my online purchase of Adobe Captivate 8 Student and Teacher Edition for Mac?

I purchased “Adobe Captivate 8 Student and Teacher Edition” for Mac on 7/31/14 and it is now 12/17/14 (only 5 months later) but it is showing as “Not applicable” when I go to download (maybe re-download) the program. I understood that I would be able to use the application on 2 computers, one at home and one at work. I think I’ve downloaded the program at home one time but have yet to install and activate it. I now have a new computer at work that can support that program and want to install the program on my office computer, but cannot download it again. Please advise.

It seems like that you have purchased a subscription for Captivate 8. In subscription you do not require any serial number. Subscriptions are activated on the basis of your Adobe Id. When user will install Captivate he has to sign in with the same Adobe Id under which they bought subscription. It will get activated after successful sign in during the installation.
As far as the installer is concern there is no difference in the trial version installer or purchased version installer. The installer is same for trial and purchased copy. All user needs to do is sign in during the installation if it is a subscription or use his serial number if it is a perpetual license or volume license.
You may download the trial version from the link mentioned above and then use your Adobe Id to activate the subscription.
Please let me know in case you need any further information.
Regards,
Rajeev.

EOS plugin and offline/online workflow

Hi all.
Recently shot some footage on a Canon 5d and downloaded the plugin so that I can use Log and transfer to get the footage in.
I was hoping to do an offline first using a proxy codec but the plug-in only does full res.
This is my first foray into the card world. Any suggestions about how I can use the log and transfer window but doing an offline first.
My only thinking is to import the files to ProRes using the log and transfer window then media managing those files to make proxy copies, editing with those and then re linking the sequence to the original camera rushes or the Prores copies
Any suggestions?

First off, unless your system is very dated, there's no reason to go through the offline thing. ProRes reduces the overhead sufficiently to make HD cut pretty much like SD.
That said, it is possible to create an offline/online scenario by simply doing the log and capture normally and then "clone" the resultant clips using Compressor to whatever format pleases you for the offline work. As long as you maintain identical filenames in both source folders, you can cut the offline in a different project and then simply re-link to the full-rez clips to conform.
Good luck!

XDCam footage exported from FCP to After Effects and back to FCP stutters

I need help. Here is the situation:
XDCam footage imported into Final Cut with the Sony Import Software 25 mpbs. Final Cut sequence is set up to match all settings. The footage is placed into the sequence fine, I can edit with no problems everything works great. The problems start when I export from Final Cut to bring it into After Effects 7.0.
I drag the imported footage onto the comp icon to create a new comp with the footage settings. The footage is being interpreted as upper field first. I render out the footage using the HDV codec that matches my sequence in Final Cut. When I import the rendered movie into Final Cut it causes the whole system to bog way down. Not just dropped frames but a serious amount of bog down, I even get the spinning Beachball for a few seconds while its trying to play. It should be noted that when I place the rendered movie in the sequence it doesn't seem to need any rendering. Now, here's the weird part, when I play the rendered movie using just the quicktime app. It plays just fine. The problem only seems to be with Final Cut.
any suggestions?

Hi,
I was having the same problem. After studying the mov as rendered by AE it would seem that there's something odd about the framsize. It would seem that AE's HDV preset is incompatible with FCP for some reason. There's probably a perfectly reason tech explanation for this but I don't know it.
I was told by a friend to always render 'intermediate codec' which I intend to do in future.
As a short-term measure just run the files through Compressor, that did the trick for me.

Editing Canon 7D footage without without loss of quality

First time poster, long time reader, so please go easy – you guys all started somewhere, now its time for me J
I’ve done video editing for a while now, only as a hobby though, with consumer camcorders and basic editing software. I absolutely love doing it and now I’ve taken the step up to a 7D and been asked to do a music clip for a band (call it timing). By the way I am using Adobe CS4 and CS5.
My questions (you’ll have to excuse my vagueness – I am newb when it comes to the technical side) is what should I shoot it in? 60fps or 25fps? NTSC or PAL?. It would only be for Youtube and perhaps DVD/Blu-Ray to distribute elsewhere, but I still would like the highest quality possible, and from the past, there’s nothing worse than shooting in the wrong format – so I wanted to try get this right the first time. Hence my post
What really confuses me is the loss of quality from the camera to online. I find that sometimes I have to import the footage (from other video cameras I have had – Sony and Canon MiniDV’s, Panasonic HS300, GoPro Hero etc) into Premiere, edit the clips, export to a file, then import into AE and add effects, then export once more. Each time I try different formats and each time the quality differs but I seem to lose plenty of quality along the way. I know it’s not simple but for this music clip I would like to learn a bit more beforehand, what the correct workflow would be to minimise loss of quality, so I am better prepared.
Thanks in advance,
Alex

My questions is what should I shoot it in? 60fps or 25fps? NTSC or PAL?.
That's way too broad a question for a forum about NLE software. The simple answer is, "whatever you want." The less-simple answer is, "it depends." Whether you shoot 60fps or 30fps or 25fps or 24fps or XXfps is all about the look you want, so experiment. NTSC and PAL don't have any application to HD video (despite their regular use to label certain HD formats as such).
What really confuses me is the loss of quality from the camera to online. I find that sometimes I have to import the footage (from other video cameras I have had – Sony and Canon MiniDV’s, Panasonic HS300, GoPro Hero etc) into Premiere, edit the clips, export to a file, then import into AE and add effects, then export once more. Each time I try different formats and each time the quality differs but I seem to lose plenty of quality along the way. I know it’s not simple but for this music clip I would like to learn a bit more beforehand, what the correct workflow would be to minimise loss of quality, so I am better prepared.
With relatively few exceptions, you don't have to worry about this--you certainly don't have to worry about this with 7D footage and Premiere Pro and After Effects. Both programs support the footage natively; it's more a matter of learning how to use the suite applications in a manner that avoids exporting to intermediate files. Dynamic Link is one way, but you can also import a Premiere Pro project/sequence directly into AE. A high-resolution intermediate is another way. There is a whole section of the help documents that describe the interoperability between the applications; reviewing it closely will help get you up to speed, so that you can ask more specific questions about workflow, etc.

FCP Offline/Online Workflow

i am not sure if this is the right forum or even an apple app question (someone direct me to a good sourse if not please) but, I am needing to do offline edit from HDV source and some HDCam source.
Based on my previous method of this in the SD world I would choose the photojpeg codec to save space and then online/uprez.
With HD and a Kona 3 card I dont see HD/SDI (HDSDI) NTSC Photojpeg Anamorphic capture codec. Even when selecting uncompressed HD I get disables view in the capture window so I know that's a card thing but capture the sd downcovert to test the codec I chose the SD Kona I/O and selected the SDI NTSC Photojpeg Ananmorphic codec and instead of reducing the image resolution/pixels and preserving frame size of 720x640 (or whatever is it in cant recall with these numbers in my head right now) its reducing the overall frame size too to like 320x240. i know i can then resize but is there a way to get the HDSDI to low rez photojpeg and not only reduce quality but keep the 16:9.
I tried to adjust the HD codec and reduce quality by 70%...couldnt test cause HDSDI on K3 isn't seeing the sig from HDCam VTR. But the 320x240 would work i just dont want to resize the images/clips.
Anyway, any ideas or help to get me going to capture low rez maintaining 16:9 (with reduced qual through pixels and not frame sizes)for a later uprez. Ive done theis beofre on an hd show about 3 yeasrs agao once, I cannot remember though and it was on FCP too in an offline/online workflow. I think we did it using sd capture from sd source, hmmm with the deck set at anamorphic/squeezed output to ana capture and then it was normal in sequence.
but in this case i am still dealing with small frame sizes 320x240...HELP!

ok, i'll look at the disc's. i think we just downloaded the full codec pack from aja's site..i do know when i check the "show all" box a boat load of codecs show, i believe i've seen one for hd...but any i seen reduced the frame size to something realy small.
i'll double check this new card kona3 and see what it's codec pack is.
thanks and i'll post my findings. geez, this should be simple...go from hdsdi to a low rez codec but keeping the full frame size...that's it done. and then uprez later using dvcproHD (well that's what i am using to save some space and it's a great codec.) but that's how easy it should be...works that way in sd too. i think i need to go in sd anamorphic and set the vtr's output to squeezed...i dunno i'll hopefully find help or figure it out one way or another.
thanks again, keep me posted with ideas..THANKS@!!!!!!

Greenscreen XDCAM footage

On the greenscreen Sony XDCAM footage I have
If I edit in Premiere Pro CS3 first
Then what settings do I export with to then open in After effects to do the keying? (I don't have dynamic link)
Settings on Cam were 1920x1080 HQ 25p
Ultimate rendering out of AE will be to flash with Alpha channel.
Obviously I want to keep best quality possible until the flash expot.
thanks
scott

For chroma keying you want to use the least compression and the best quality. Lagarith is the best solution for that and you can easily use it to bring it into AE, edit in AE and export back to PR. It takes a bit of space but it gives you pretty clean keys and is easy to edit. Uncompressed does not give you any visible advantage but does take a lot more disk space. Other compressed codecs like H.264 or MPEG give you a visible generation loss and less clean keys, as well as putting a heavy burden on your system.

Offline/Online Edit for xdcam footage

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