Saving raw footage

i'm in the process of digitizing my old 8mm video. the process i have to follow is to copy it from my 13-year old sony camera onto mindDV tapes (via a sony digital video cassette recorder), then download onto the mac. cumbersome, but it works.
i want to save my raw footage in digital format, so that i can go back and access it when i need to. but, even though the 1hour of miniDV comes in at 12.1GB, when i try to save it onto even a dual-layer disk, the footage is way too large. even something as small as 4 minutes takes up more than the 8.5gb of a DL disk.
is there a way for me to burn my raw footage onto DL disks in some kind of compressed format, but be able to retrieve the footage at full quality?
i would greatly appreciate help with this.
gee
iMac,1 Other OS

is there a way for me to burn my raw footage onto DL disks in some kind of compressed format, but be able to retrieve the footage at full quality?
simple answer: No.
any other codecs then dv (as on miniDV or inside a iM project) are lossy.. they degree the pic quality, esp. when re-converting into something editable... all other codecs then dv are playback-only codecs, as mpeg/h264 etc...
your options:
stay with miniDV - best quality/best price&size ratio , no instant access
import clips onto an external harddrive - instant access/lil' pricey... :-/

Similar Messages

Storing/Managing all the raw footage and all the completed videos

The iMovie '06 instructional video on the Apple pages mentioned that after we edit out our video and it is complete and ready to be viewed, we can upload it back into the camcorder so that from there the video may be viewed on a TV etc.
This reminds me of something that I thought about a while back and which has to do with keeping copies of our work. My thinking is to put the iMovies into my website but I CAN see my wanting to play it on my 50" TV.
Questions, then:
1. If you upload your finished video from the Mac back into your camcorder, then in fact you have a copy right there. So then, DO YOU STILL KEEP THE ORIGINAL CASSETTE OF RAW FOOTAGE AS BACKUP, JUST IN CASE?
2. In what order would I save to cassette etc if I would like to upload the video to my website AND keep the finished copy in a cassette in my closet as well as in my external hard drive? I ask because I recall earlier that at a certain point, one cannot do certain things with the video. I wish I could recall what I had read.
3. Here is what I would like to end up with:
a. The video on my website
b. The complete video in a cassette so that I could play it on TV if I decide to.
c. The complete video in my external hard drive.
d. And actually, WOULD you retain a cassette with all of the raw footage? Or in your external hard drive?
And the final question is:
HOW DO YOU ARRANGE ALL OF THESE BACKUPS AND COPIES IN YOUR EXTERNAL HARD DRIVE? I am foreseeing options that I can't answer.
For example, do I keep all raw footage in one category, and then all completed video in another category?
Or do I keep things divided up by the particular video itself? By that I mean, do you segregate your backups by all of the raw footage and finished video for TRIP TO ALBANIA, all raw footage and finished video for MARTY'S BIRTHDAY PARTY, all raw footage and finished video for GHOSTS IN THE GARAGE?
And that's just talking about the video clips that you keep INSIDE your computer.
Thank you for your thoughts.
Lorna in Southern California

Ohh and another thing!
to archive give the dvd_img or video -ts folder a
title, that way its easy to find it if you use as
videodisc with front row Elgato eye tv or equinox
catagorice as fiction drama cartoon explsit andson
andson...
Dear Kjolner.....
I'm afraid I am lost with your replies because the terminology in the answers are beyond my understanding. When you say that you save something to tape, do you mean, "back to that same small cassette"? I do not know what an .img file is. I am not clear on saving "small segments" on QT. I would not know how to do that, anyhow. I do not understand what a video -ts folder would be. <gulp> <<double gulp>>
I DO have Tiger and will buy the next one up when it seems safe to do so.
I recently bought a LaCie 500 gigabyte external hard drive to store everything and lighten up my iMac internal hard drive and make it faster. I had to buy that external HD because while attempting to upload my footage from my Sony digital video camera recorder DCR-TRV 11, my iMac sent up messages that I had insufficient space for the activity.. something to that effect.
Lorna in Southern California

How to give raw footage shot in AVCHD to wedding clients?

I’ve been living in AVCHD **** for the past couple weeks. I just recently upgraded my old Sony PD-170s to new Panasonic AG-AC90s which record in AVCHD. I mostly shoot weddings and deliver the raw footage directly to my clients. When I was shooting DV, I just gave them the tapes and was done. Now, I’m completely stressed out because I’ve been trying to figure out how to give my clients their footage without worrying if they’ll be able to play it back on their computer without any problems. I’m particularly worried since I’m on a late 2008 Macbook Pro 2.66 GHz Intel Core 2 Duo with 8GB of RAM and the files won’t play back smoothly for me. I need to be able to deliver the footage so that it will play back smoothly on both Mac and PC, even if they’re not as powerful as my own computer.
I went to the Apple Store and they recommended I get a new SSD and a new battery for my laptop. I’m waiting on both and we’ll see if they make any difference. They told me I could use Compressor to convert the files to a more compatible format, but I tried that and it took nearly half an hour to convert a one-minute clip to 720p.
I’ve thought about just burning all their footage to blue-ray so they can watch it on their HDTV, but that would mean buying a blue-ray burner and having no idea how long that whole process would take on my outdated MBP. If I had any luck going that route, maybe I could just give them the AVCHD files on an external hard drive and disclose to them that their computer may not be able to handle playback. At least they could give the drive to a professional editor who would know what to do with it.
I feel like I’m in way over my head. I don’t have the money to buy a new computer right now, but if I have to take out a loan so as to not wind up with unhappy clients, I will. I just have no idea how much of an investment I would need to make to be able to do the transcoding in a reasonable amount of time. The “genius” at the Apple Store didn’t have any great advice other than to tell me to use Compressor. I really need to figure out how to do this in the most efficient and economical way possible. I’m broke, I’ve been living with my parents and I’m just trying to get back on my feet after the worst year of my life in 2013.
I’ve spent many hours over the past two weeks researching these issues, reading articles, posting on various message boards and still not feeling like I’m close to any real solution. Any help would be a tremendous blessing.

If you are giving the clients the raw footage it's best I think to give them the entire media structure from the camera card. Just make a separate folder for each card, call them Joe&Joan1, 2, 3, etc. Drag the complete contents of each card into it's separate folder. Put the folders on an ExFAT formatted jump drive.
That's the down and dirty method, but it depends what the client wants to do with the video, just watch it on the TV or maybe do something with it themselves. If the latter, then the way I described above is probably the safest for giving them the most options on how to deal with it. If they just want to view, most recent systems can play back raw .mts files in H.264, but the client will have to dig it out of the folder structure to find it.

HELP! - Getting RAW footage into Offline RT jpeg project

I hoping someone can write down a brief explanation of the steps needed to do this final step in the edit process.
I imported all my footage as an Offline RT jpeg format so it wouldn't take up so much space on the HD. Now I'm completely finished editing the project and need to send the raw footage back through so it can replace the Low-res jpeg stuff in the chosen cuts.
This is the first time I'm doing this and I just want to do it write, not wanting to risk hurting the project.
(I'm working with Final Cut Pro 4.5)
Any help would be great.
Thanks

I don't know what RAW footage is. I thought RAW as a digital photo format without compression.
On the chance you mean recapturing footage in it's original format,
1. take the footage you have now off-line
2. Open up Log & Capture
3. Select all your footage in the Browser and select BATCH CAPTURE
4. In Log & Capture make sure the settings are for the correct format for the footage you wish to capture
5. Capture
6. Make sure the settings of your sequence are changed to match the footage you just captured.
There is probably an easier way using media manager - but I never use MM ....
good luck.
x

External Hard Drive for Raw footage?

Im sorry, this question has probobly been answered already but I'm just confused.
If I am editing a project in Premiere pro cs6 and I have all of my raw clips on an external drive (usb 3.0) and import them into premiere from the external drive will this slow down the editing process? I have a 120gb SSD and just want to use that for the OS and Applications, while having my raw clips/recompresed clips with the scratch disks all on the external drive? or will this slow premiere pro down? So basically will the external drive with usb 3.0 with my raw footage and scratch disks slow down premiere or will it just be fine?
(just switched from FCP) Any help would be appreciated!

Im not sure of the rpm, I looked in the manual and does not say anything about the rpm, but the drive is a Seagate 2tb goflex desk (STAC2000106). And no I have not benchmarked it yet but I might test it out soon.

How to give client best quality of raw footage

So normally I shoot, edit, and burn sporting events for a certain client. However, this thime the just want to pay for the raw footage. Since I've noveer done this before, I'm a little confused. Usually I would export using Quicktime and then drop th quicktime into iDVD or Roxio and then burn a copy. But since they might want someone else to edit the footage, how do I give them the best quality format. I am sticking with burning something to DVD. But last night I was looking at export using quicktime conversion. There were all kinds of options. What would you recommend for exporting? I would assume if I burn it onto a DVD using iDVD, they would have to rip it to edit it. But doesn't puting something on DVD compress the footage? It is shot in SD, but I want to ensure maximium quality. Any suggestions?

It's a Sony miniDV camera. The footage specs are as follows:
Sony:
Frame Size: 720x480
Vid Rate: 29.97 fps
Compressor: DV/DVCPRO-NT
Data Rate : 3.6MB/sec
Aud Rate 48.0 KHz
Aud Format: 16 Bit
Pixel Aspect: NTSC-CCIR601
Field Dominance: Lower(even)
Or at least that's the information I got from FCE. The footage is 3 seperate camera angels with about 75 minutes for each camera. I'm assuming they mean to have someone else edit it, but what program they would be using, I really don't know. When you state "1) an actual copy of the raw footage", do you mean a tape copy? I do not want to give them the original tapes it was recorded onto.
"QuickTime/DV or QuickTime/AIC" I do not know the difference. I refer to myself as the Cole Trickle (Days of Thunder reference) of video editing. I don't know how or why the car works, I just know how to drive it. With video editing, I do not know all the internal knowledge of aspect ratios or what a codec is, but I know how to tell a story and get that feeling onto a TV screen. Yes, I am limited by my own ignorance, but I am a visual learner. I can read it 100 times, but if someone shows me once I have it down.
Aside from the rant, I want to deliver the footage on DVD. Our original agreement was for myself to edit the footage, but I respect the free market. I want to be as profesional as possible when it comes to business. I fell into this client backasswards, and wasn't meaning to create a full time career, but they liked my work and I liked doing it.

I need to share raw footage that is already imported into iMove, how do I do that?

I have raw footage imported into iMovie '11 that I need to beable to give to someone else, is this possible without first turning it into a project and exporting it that way?

Go to ~/movies/imovie/imovie events, then copy the files to a DVD or an external hard drive.

Saving RAW edits as JPEG - is it okay if...?

Just wanted to get some expert opinion on whether saving RAW edits as JPEG is advisable.
I understand that every time you save a JPEG, there is some loss/degradation, whereas TIFF is loss less. However, given the huge size of TIFF tiles, my thinking is that saving them as JPEG is okay as long as if I want to make subsequent edits, I revert to the original (RAW) and re-do the edits.
Is there any downside to this logic?

iPhoto does not keep resaving the same JPG over and over. Instead it applies the new edits to the original file and recreates a new JPG. So no matter how many times you edit the file, you are only one generation removed from the RAW file.
iPhoto keeps tracks of your edits in a list and reapplies them when you open the file to view.
Patrick
edit: here is a reference article...
http://docs.info.apple.com/article.html?path=iPhoto/7.0/en/11464.html
Message was edited by: PT

Does ARRI RAW footage even work in Premiere Pro CC?

Does ARRI RAW footage even work in Premiere Pro CC? After importing, some footage just says "media pending", and some just appears as a black video. The interface is also extremely sticky. I am working on a current generation Mac Pro, so I don't think it can be performance issues.
The footage seems to work fine on my old PC in Premiere Pro CS6. I was wondering if CC lacks the ability to process ARRI RAW.
Thank you
- Tom

OK. Think I've got it now thanks to looking at the short keys and searching for "Full Screen". The upper left key is "`" which looks like a grave - a slightly angled single quote. But when I look at the "Application" setting for Toggle full screen it is set to "'" - a "normal" single quote. Sure enough, if I hit the normal single quote key the toggle works.
I have not been anywhere near the hotkeys and can't imagine why anything would change it from a grave key to a single quote - especially as they look almost identical on the screen. I'm guessing that Adobe changed this (maybe only for international users?)
Anyway I now know how to toggle full screen, although it makes the "Premiere" keyboard with its big purple key for "Toggle full screen" redundant. Does make me wonder what the shortcut key of "'" or CTRL + "'" gives that I'm presumably missing since it appears to have been remapped.

Quality of edited vs. raw footage

Hello,
I recently edited together a short video out of clips from my GoPro 3 Black, and then imported that sequence to Encore and burned to Bluray along with the raw footage I had taken. The editing was just cuts, and I layered in a song. I noticed when testing the Bluray that the video quality of the edited sequence is not as good as the raw footage, there is quite a bit of artifacting compared to the raw stuff. Any ideas why this would be? I've done quite a lot of basic editing, but don't really know that much about transcoding and codecs and whatnot.
Edit: I'm not sure that this is useful or not, I don't think it is, but anyways, before I imported my sequence to Encore, I thought I had to export the video from premiere for Bluray, so I did that, but then I found I could just import my sequence in Encore, so I don't think that export was used. At leas that is my assumption.

Stan Jones wrote:
Would the settings you are referencing be the "Default Transcode Settings?" I have Encore set to:
The rest are grayed out and can't be changed, 1440x1080, 29.97, Upper Field First.
The default transcode settings are applied to menus and slideshows. You can specify many other options for assets used in timelines.
The greyed out settings you pick when you create a new project. Then they cannot be changed for that project.
A custom transcode setting can be chosen at any point prior to building a disc. You have access to any preset in AME, and can customize a presets bitrate.

Raw footage went in small and exported HUGE

When I imported my footage from my video camera it was a nice, big still, size. It was approximately 6GB. This is large but manageable. But when I edited it only a very small amount and exported it into .avi format it is now 51GB!
What can I do to reduce this size?
Thanks,
Jay

If you are giving the clients the raw footage it's best I think to give them the entire media structure from the camera card. Just make a separate folder for each card, call them Joe&Joan1, 2, 3, etc. Drag the complete contents of each card into it's separate folder. Put the folders on an ExFAT formatted jump drive.
That's the down and dirty method, but it depends what the client wants to do with the video, just watch it on the TV or maybe do something with it themselves. If the latter, then the way I described above is probably the safest for giving them the most options on how to deal with it. If they just want to view, most recent systems can play back raw .mts files in H.264, but the client will have to dig it out of the folder structure to find it.

Sony F5 RAW footage goes offline when switched to slog2

I am editing in Premiere Pro CC 2014, fully updated. I have a project with only Sony F5 RAW footage and some of the clips have gone offline when I opened the project this morning. Nothing has changed and it was working yesterday. I tried several things to no avail, and decided to just reimport the effected clips (which were indiscriminate across sequences and source locations). This worked fine, until I changed the source settings for the clips to slog2 and they immediately went offline again. Any idea what's going on? I would really rather not transcode everything.

Hi Gordon,
Could you send the project and that clip to us? We would like to have a deep look.
I'm sending you a PM.
Thanks,
Fran

Getting 24P raw footage from PP ro ENcore

Could someone outline an inter-application rundown between PREMIERE PRO and ENCORE of procedures and settings that make the most of 24P raw footage in editing and output.
This would include navigating extremely confusing respective frame rates of 23.97, 24, 29.97 and 30 all of which we have to choose again in outboard processing input and output (eg.in AFTER EFFECTS), then again in compression, and finally in setting up an ENCORE project.
Dealing with the interlace (which in theory you shouldnt have), and the numerous sidebar choices along the way the add to the mystery. Being consistent is not as easy as it sounds. Between what you start out with and what you end up with is a minefield where common sense does not always come out on top.
The end goal is a compression without apparent field issues that ENCORE can use to deliver an optimal Blu-ray.

The first preset has been selected.
Okay; but that is why I want to see the project panel. You can "select" a preset in the edit panel, but not "select" it as the actual transcode setting.
The Transcode Settings panel, not the Edit Quality Presets panel, is where you actually set the preset to be used.

De-interlace Raw Footage?

If you have footage from various cameras... most are progressive capture and one is interlaced, would you de-interlace the raw footage?
Also, would you try to smooth out shaky footage in the raw or wait till you know that portion of video will be used?
Thanks,
Robert

Robert Broussard wrote:
If you have footage from various cameras... most are progressive capture and > one is interlaced, would you de-interlace the raw footage?
Are you going to use all of these different cameras in the same program? Is it stylistically important they match? If so, you must choose a single format and convert everything to that. Progressive and interlaced are, by themselves, insufficient terms. You can convert 60p to 30i but if you attempt to go the other way there are visible motion and image artifacts you may find disturbing or interesting, depends on your style requirements.
Of equal importance will be matching the levels and color responses of the various cameras.
Robert Broussard wrote:
Also, would you try to smooth out shaky footage in the raw or wait till you
know that portion of video will be used?
Issue here, as Nick notes, is how smoothcam works with media files. Read up on it carefully and do some experiments. It is not a no-brainer and often introduces scaling and rotation artifacts you may find more objectionable than the original footage.
bogiesan

Portable hard drive recommendations for delivering raw footage for both Mac and PC?

Hello all. I recently purchased a hard drive ("my passport") that I thought would work for delivering raw footage, but turns out my client can't use it on their PC. I did read something in the manual about using with both - but you had to format the drive as FAT32 which comes with a file limitation of 4GB and so will not work for raw footage. Are there any reasonably priced drives that will work for transferring large files between operating systems without reformatting?
Thanks!
Karen

You essentially have two options:
Option 1 - format the drive as NTFS then install this free utility on your Mac so it will read/write to NTFS formatted disk: http://download.cnet.com/NTFS-3G/3000-2094_4-10913782.html?tag=vtredir
Option 2: Purchase and install "MacDrive" on the Windows system and format the drive as Mac OS Extended" (aka HFS+). MacDrive will allow the Windows system to read/write to disks formatted for Macs.
http://www.mediafour.com/products/macdrive
-DH

Saving raw footage

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