Recommend workflow for progressive HD footage

I have to edit down some footage shot on XDCAM EX 1080p30. The end result will be PAL SD on DVCAM. I have the workflow for getting to PAL SD using Compressor, but I am wondering where the best place to go from progressive to interlaced is. My instinct tells me to leave it to the very last stage when I output the video to tape via a DV timeline. I am converting the XDCAM to ProRes in the first instance and staying in ProRes to PAL SD.

that's what I'd do. Compressor works just fine for the conversions to PAL

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Best workflow for AVCHD 1080i50 footage in iMovie 10.0.7?

I shoot video using both my iPhone 5 and my Canon Legria HF R16. The first shoots progressive video, but with the second I shoot AVCHD (mts files) interlaced 1080i50 (that is 50 fields/second, giving 25 interlaced frames / sec). I recently purchased iMovie 10.0.7 from Mac App Store and I like it a lot. I don't have any problems with iPhone's (progressive) footage, but Canon's (interlaced) footage appear very noisy. Do we know how this version of iMovie handles interlace video? Any proposed workflow for interlaced video for good quality of export?

To increase the possibility of getting an answer, I would like to set a simpler general question: when using interlaced video with iMovie, do you:
a) import it as it is (interlaced)?
or
b) deinterlace it and then import the resulting progressive video?

Workflow for deleting extra footage from session/hard drive

I want to save hard drive space. I have several session of 40gb each. I am new to video editing and realize the way to work is to trim the 4gb files so that I only have the needed footage on the drive, deleting the prerolls and extras from my drive. BUT, I dont know how to do this in Premiere Pro CS6. Is this task better done before I create a project?
So what is the best workflow?
Workflow A
1. Insert SD Media to Computer and edit using MPEG Streamclip or Quicktime(trimming)
2. Export clips into Session/Scene based folders on main footage hard drive
3. delete source files from SD media - large files never get saced to hard drive
If this is best, what export settings are best for Premiere Pro CS6.
Can this task be as easily done in CS6?
Workflow B
1. Insert SD card into computer and open clips in Premiere Pro CS6
2. Add Scenes/Sessoins into a Sequence and use in/out points to drop clips/subclips into the project(per scene)
3. export them to hard drive and delete session footage.
Id this is best, how do you export from Premiere Pro CS6 so that the clips in the sequence are now referenced, the audio and video are stored where I can access them/labeled and I can trash the source footage.
I hope this makes sense. I want to trim away the wwasted footage and drive space. My 250GB drive is almost full and only 20-30GB is useufl footage. I need a workflow to reduce the file sizes.
For the current footage I have the resolution of the export doesnt matter, no one will see them but me. Rehearsal footage. I need the audio and video to stay linked(is that what rendering does?)
Thanks.

So an example of what i'm doing is this.
Last week I captured 4 rehearsals (musicians and dancers) each lasting one hour. Each rehearsal contains only 2o mins of usefull footage. But the 20 mins are spread out so that if i edited each session there would be 5 4min clips. There will be rehearsals ongoing for twelve weeks so I''ll be duplicating this process many times. I want to save space on the drive by doing some initial editing to reduce each hour session to 5 4min clips.
What is the best workflow so that at the end of each week I have 4folders each holding the 20mins of good footage(and audio) on my drive and all the unneccessary footage is trashed. A few sessions will comprise a multicamera setup. All sessions have audio from the cameras and audio from a mixing console. I want all the audio from every source kept.
I want to preedit each week so that 12 weeks from now when I do the master edit, I have already saved rive space, matched audio sources to the clips(even if I havent edited multicamera clips)
Can you help me with the front end of the post capture workflow? What is the best way to save space and time given my goal of documenting the rehearsals and for havign a compilation video later? Thanks !!!!

50i footage best workflow for progressive output (web/youtube) / deinterlace

Hello
The reason I have to work with interlaced footage is that the clips are edited for a TV show as well.
I (usualy) get 1080i @ 50fps clips with fast-paced movement of camera & inside the shot (subject) - car racing.
Editing in Adobe Premiere Pro 5.5
I am struggling with some stutter & sharpness loss & thin interlaced lines (even after exporting as progressive).
The current workflow is:
          - importing inside an AVCHD - 1920x1080 @ 50i sequence
          - edit
          - export as h264 - 1920x1080 @ 25P /Constrant Bit Rate @ 10MB
Results not that great : while the smoothness of motion is preserved there is a visible drop in details quality and still visible thin horizontal lines from the interlaced footage.
Also tried:
          - importing inside an AVCHD - 1920x1080 @ 25P sequence
          - edit
          - select 'Always deinterlace' option inside Field Options box (takes extra some time because i have to do this for each individual clip)
          - export as h264 - 1920x1080 @ 25P /Constrant Bit Rate @ 10MB
Results not that great : stutter motion, more visible drop in details quality and no horizontal lines visible.
My questions are:
     1)What is the best sequence settings for editing 50i settings and exporting for WEB/progressive?
     2)What is the best deinterlace option? ('interpret footage>no field' does not help)
     3)What is the best output/export settings?
Thank you!

You are not using the Youtube preset
Your preset shows that whilst it is h264 some settings have been changed over the default hence CUSTOM showing in the image, it is that you are just outputting a file specifically for your PC/MAC
Other observations
Why are you saving to your C drive? Better to have multiple drives for editing, there are plenty of posts on drive management and setup
Do you have the default Premiere settings for scratch discs etc? These will use your C drive which will soon become filled, or at least overwhelmed with raed and wrtite problems
Why are you saving the file at 10mbps? Especially for motion my PAL HD MP4 progressive settings are 32 ave 40 max mbps

What is best workflow for interpret NTSC footage into PAL project?

Premier Pro CC cutting a film for HD broadcast TV. Majority of footage shot PAL at 1080p, so I made a 1920 x 1080 25p project. Is it okay to make a progressive project for broadcast? Or should I switch to interlaced?
I am supposed to deliver an NTSC tape to the network.
Some footage is 29.97 and 23.97. Is it okay to Interpret footage in bin as 25p PAL and then cut it into my sequence. It seems to play properly; I'm just concerned about problems in the final output. I've read that people duplicate the clip, then interpret to 25fps PAL, and leave the original NTSC alone. This sounds like a good idea. Working on a MacBook Pro Mountain Lion.
When I output the final QT movie, what are the best settings and codec to use for the final
Hi-Res output which I will bring on a drive to a post house to do final CC and layback to tape?
Many thanks in advance.
Patrice Shannon

Convert NTSC <--> PAL http://forums.adobe.com/thread/1209530 may help

Recommended Workflow for eventual 1080p and 1080i output?

We have a show shooting on HVX-200's (at 720p60, 23.98), and also some HDV footage.
We are editing with FCP 6.0.2 on MacPros, with San Server, and Blackmagic Decklink HD Extreme cards.
We must deliver to two networks:
1) 1080p 23.98
2) 1080i 29.97
(both on HDCam tape)
Shooting/editing hasn't yet begun.
What is our best workflow?
--Should we edit on a 23.98 or 29.97 timebase (I presume we'll need two final sequences for layoff, one at 23.98 and one at 29.97, since one is DF and the other is NDF)?
--To layoff the 1080 masters, should we create 1080 sequences and render; or can the Decklink card upconvert upon edit-to-tape? [I've already tested converting the footage to 1080 with Media Manager, and the computer can barely handle playing it]
--When mixing HD and HDV footage in a timeline, what's the solution for minimal rendering and normal-looking frame-rates?
--Will we need a Tri-Sync generator to Edit-To-Tape at 23.98 via the Decklink card? Or any other hardware we should start acquiring?
--Other issues we should expect?
Any suggestions would be GREATLY appreciated from those who have been through this before.
Many thanks!

I have tons of experience with this workflow...and I blog about most of it. Here is a post that will enlighten you on a few things:
Little Frog in High Def
Read more of the Sept and Oct archives for more tidbits. The Kona 3 card was a HUGE factor in this. Without it, with your Decklink, you won't be able to do what I did. You'll have to cross convert before you output.
Hire a consultant. Talk to people at post facilities that do this all the time.
Shane

Recommend Workflow for 2 writers to share RH

I am currently working on a large (modular) help system
consisting of 10 projects. I have been told that RH 7 is not suited
for working across networks. But the other writer and I may have to
work on this mixed help system. It currently sits on my C: drive.
Can someone suggest the workflow or an article that points out
where to place the files on a network, how to access them
(RoboSource Control ?) and the gotchas one can expect working in
this environment (with two people over a network).
We are using RH 7 (WinXP) in a network. We currently create
and store our own projects on our C: drives, but may have to both
work on the big modular help system in the near future.
Thanks in advance.

Hi forme3d -
There are essentially three choices:
1. Take turns working in the project, passing the fileset
back and forth.
2. Use some form of source control.
3. Split the project up using the merge feature.
Option 1 has limited usefulness, so you should take a look at
both Option 2 and Option 3. There is some good information in these
forums (fora
) about merging. Do check out the extra information
provided by the resident experts on their own sites.
We use RSC successfully, but not without considerable pain,
as well. Our projects are very large and complex, and sometimes
things just break down. Overall, I've felt like it's been less
painful to use RSC than to not use it. I don't get agreement on
that from every writer, every day, though! What I'm trying to say
here is that I wouldn't recommend using RSC just for the fun of it.
Our decision driver is whether we need to have multiple authors
working in the project at the same time. If the answer is yes, then
we set up the project in RSC. If the answer is no, then the writers
are relieved.
G

Best workflow for converting HD footage for broadcast?

I've been banging around the forums for a while tonight looking for someone who's been down this road before, but to no avail. Here goes...
We shoot a weekly "Top 20" show using a Sony XDCAM EX-1 @ 1080p. It's a Top 20 video countdown show, which means that along with my footage (a DJ in a studio as your Top 20 host), I incorporate graphics and music videos ripped from DVD's. The final product from all of this winds up on a local cable channel, which broadcasts SD.
I use the Sony XDCAM Xfer software to convert the data from the SxS card to QT files. (So far, so good.) I open up FCP and place these files into my project. Once I drag one of these clips into my timeline, I'm asked by FCP if I want to change the sequence settings to match the clip I'm putting onto the timeline. I answer "No" (because I've preset the FCP sequence settings to 720x480, since the cable channel broadcasts in SD. Could this be where I'm screwing up?) I bring everything into the timeline (including the ripped videos) and get everything edited nice and tight. But wait...
I've been staring at my Mac monitor this whole time. When I play the project back and look at it using the broadcast monitor, well...it looks sorta sick. Certainly not what I would expect from HD-to-SD footage. Everything looks pixelated and sorta blurry. If it looks this way in the studio, you can imagine what it looks like when it airs on TV. It's not pleasing to the eye.
I would ask about what the best way is to deliver a show like this to a cable channel, but since the stuff on my broadcast monitor looks so crappy, the problem's gotta be home-grown. What am I leaving out?

If you know you are going SD why film in HD at all?
Its not like you are going to be re-airing your shows down the road in HD,
Most likely, the video's you are ripping from DVD are not HD either...
Depending on the deck you are exporting your show to, some of them have a down convert feature, mine does Sony HVR-M25U.
I have a weekly show I do, but I do it all in SD until the channels it broadcasts on will take HD footage.
Though if I am doing a commercial, I usually shoot it HD and leave it HD

Recommended Workflow for Converting from .avi to .m4v

I would like to take an edited .avi file and prepare it for playing on both iPods and in QuickTime/iTunes. I downloaded the trial version of PE7 to see if I could use it for this. From what I understand and have tried out, I can create an h.264 (MPEG-4, part 10) .mp4 file using PE7. What is the best way to convert this to the .m4v format? My OS is Windows Vista Ultimate. I tried using iTunes to convert it, but the resulting file did not play smoothly. I also tried downloading MPEG Streamclip and found I could not play the .mp4 file smoothly.
Am I sacrificing quality by starting with a tool that cannot export to .m4v, namely PE7?

Thank you so much. I appreciate your time very much. That link is quite interesting and will help me understand what I'm dealing with better.
I'm doing this for a podcast, so I need to have one file that will work for everyone who has iTunes or an iPod to include in the rss feed as an enclosure. I don't want to maintain two feeds.
So I think I'm going to try QuickTime Pro and hope that solves my woes.
I'm wondering now if I should still buy PE7 for editing. I like the product and have spent some time with it now. Of course, I wish I could do everything just in PE7 but don't think that's possible at this point.
So I still have a question about the workflow if anyone can help. Just to clarify, if I import .avi files into PE7 and do some editing, then can I just export to .avi and then open the new .avi file in QuickTime? Is that the workflow I would use? I'm assuming that QuickTime Pro can de-interlace the video, change the pixel aspect ratio, and allow me to make other adjustments to reduce the file size. I would export from QuickTime as .mp4 and hope that .mp4 files that QuickTime renders will work in the latest version of the QuickTime player. Otherwise, I'll have to export to .m4v, which I don't think can be used by other players???
Anyway, I think I'm on the road to a solution. Hopefully, QuickTime Pro won't have similar issues.
Thanks again for your time and advice.

Best workflow for progressive and interlaced video.

I'm making a video that will go to the web and may end up on television (SD PAL) Should I shoot progressive for the web or interlaced for broadcast and deinterlace later. Is it easier to de-interlace than RE-interlace - assuming the latter is possible.

Both are possible, and neither difficult. What matters more is the "look" that you want. If you shoot interlaced (60i) it will have a "Video Look." Progressive was designed to look like film, particularly 24p. 30P is kind of a middle ground between the two. Shoot some tests and see which appeals to you.

What's the correct workflow for high FPS footage motion blur?

Situation is the following:
I have a few 600fps recordings I want to put together with heavy editing.
Things I want to do (not in order):
Change the velocity heavily up and down, from 300% to 10% and back withing seconds.
Basic VFX, heightmap, masking, light flashes and so on.
3D tracking and effects, particles and text in 3D space
Color Correction
Good motion blur
Overlays
Now, my question is at which point I apply the motion blur. I'd like to start in Sony Vegas for the velocity and then move to After Effects.
But Sony Vegas is capable to export at max 120fps. Will the motion blur result be worse/different with minro FPS footage?
In Sony Vegas for example, the resample feature is pretty useless/bad unless you go over 120fps.
But obviously I can't start by importing my footage into AE and firstly add motion blur. By my understanding I have to do all FX and color correction before adding motion blur, and until then the footage has to stay 600fps. Is this correct?
Thanks in advance.

and until then the footage has to stay 600fps. Is this correct?
No. Motion blur is calculated from frame to frame at the actual playback speed. Anything else would look fake, anyway, though of course you may already ned to/ want to add some motion blur to some elements halfway through just to from the precision of higher framerates. Smoother curves and all that. So ultimately in which order you do it is till a matter of what gives you the best result, not so much a fixed "correct" order.
Mylenium

Best workflow for deinterlacing DV NTSC?

I've been trying to upload some DV NTSC material to the web, so as a final step I've been deinterlacing the video through compressor.
For some reason, I couldn't get frame controls to work successfully, and I also couldn't get it to export as progressive via the sequence setting. I was only successful when applied the de-interlace filter to each clip in the sequence.
The results were impressive, but in the past I've had no problem working with Compressor or the sequence settings.
So my question to you all is: what is your preferred workflow for de-interlacing footage upon export? Any links that anyone can point me to? Any ideas why I might not be having any success via compressor or my sequence settings?

You suggesting nesting. I applied the filter to one clip, then copy pasted the filter in one go to all the others.
IMO, it's six of one. I was more interested in figuring out why I'm having trouble with changing the sequence settings to field order: "none," or why compressor's frame controls were showing no noticable difference.
So "gah!" right back at you.
Edit: I guess what drew my attention was that you said "Have you tried..." when I clearly stated that that is what I had tried and had gotten to work previously.
Message was edited by: Haberdasher

HDV Workflow - VAST amount of footage - Need Recommendations

I searched the forum and found some useful information, but I wanted to post this with my actual workflow for specific recommendations. I am in development for a new reality-based show that will shoot HDV 1080i. Each show will shoot for 4 days, 10 hours a day, 3 cameras totaling an average of 120 hours of footage per show.
I currently work mostly with DVCProHD footage shot either Varicam or P2 that stays in that native codec throughout the entire post process. I have worked a bit with HDV footage and agree with most that the render times are horrendous!
I do have a capture device, a Matrox MXO2 that I can use to capture the HDV footage outside of the native HDV. I am looking for the most efficient workflow throughout the editing process. What is the best workflow for rendering? Editing response? Etc. Hard drive space is not a big issue since there will be drive sets allocated for this specific series. Thanks in advance.

ElasticPictures wrote:
Thanks for your reply. It seems that this is definitely a possibility, although I think it will take a vast amount of storage for 120 hours per show to capture at ProRes. Would it be better to capture DVCProHD since the storage required is similar to HDV? Thanks again in advance.
1. Don't capture in ProRes. It will take up gobs more space, and although it does have a better color space, it can't just include color space info that wasn't recorded onto the tape.
2. How would you capture straight into DVCProHD? Can the MXO2 do that?
What I've heard suggested is to RENDER in ProRes. That's a setting in...I don't remember where, but it's default is to whatever format the project is (HDV project would render in HDV, DVCPro in DVCPRO etc.).
What's your deck that you're hooking up to the MXO2? I did a project where it was four angles of DVCProHD that I needed to multicam so I used compressor to make DV files so I could play them all back in realtime, edited those, then Media Managed back to the DVCProHD files. What you could do depending on the deck and MXO2 is downconvert to anamorphic DV, edit those, then Media Manage like you were talking about doing. Of course make sure that all the tapes are labeled and cataloged precisely or you'll be screwed at the end, and if you think you'll be using at least some footage off each tape, then Media Managing would be a big pain in the butt as well.
G'luck,
-Brian

Workflow for converting SonyHD Cam footage via KonaLHe to DVCPro HD?

Hi,
I've got a project starting tomorrow and the producer had to switch cameras the day before the shoot! They are now brining in Sony HDCam 1080psf 23.98 (don't know the camera). I've rented an HD Cam deck with SDI out (no FW). I have the Kona LHe so SDI input will be fine. The project is destined for digibeta 29.97 SD so I'm trying to figure out a good workflow for capture and editing. To keep file bandwidth down, I think DVCPro HD is a good solution, but I'm not sure where or how the conversion takes place using the Kona LHe and FCP. Do I set the Kona frame buffer to DVCPro HD 720p @ 23.98 and set capture settings the same in Final Cut? Or, as I have the internal RAID space, just capture native 1080, edit native, then convert the program to 29.97 window 16x9 at the end of the edit? Clarifications, recommendations and comments welcomed! Tnanks!

Conversion is done in FCP. But all you have to do is connect it to the Kona via HD SDI and set the capture settings in FCP. The signal coming in from the card is the full signal, you are just telling FCP in which format to save that signal as. And DVCPRO HD 1080p24 would be the setting. I doubt your internal RAID could handle uncompressed 1080p HD.
Shane

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

Recommend workflow for progressive HD footage

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