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HD and Pro Res Workflow

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Julien Rosskam
HD and Pro Res Workflow
on Nov 6, 2009 at 8:25:23 pm

I am assisting on an editing project. Most of the footage was shot on the HDX900 (960 X 720 at 24p), and some is SD 24p. The editor is very gung ho for using the pro res codec but I had hesitations because of the slight quality loss most of the footage would have. So we are considering using a mixed workflow, so that we set final cut pro to render using Pro res, but we don't spend the time and incur the slight quality loss and transcode all the footage to Pro res. A couple questions come to mind.

1. How does one set Final Cut Pro to render using Pro Res - is that just the "compressor" you choose in your sequence presets?

2. Will this cause any potential problems down the line when outputting?

3. Are there any problems with keeping the SD footage SD right now until we are sure which SD footage will be used? Once we lock the edit, the SD footage will need to be upresed? And what is the best method for doing that?

Thanks for your help!


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Shane Ross
Re: HD and Pro Res Workflow
on Nov 6, 2009 at 11:01:51 pm

[Julien Rosskam] "The editor is very gung ho for using the pro res codec but I had hesitations because of the slight quality loss most of the footage would have"

We are talking REALLY slight here. It is comparable to Avid's DNxHD codec. I mean, if you have the drive space and the speed required, Uncompressed 10-bit is better. But you really won't see it unless you are watching it on a big screen. But then ProRes HQ would be virtually identical to that. If you need every ounce of quality, then go Uncompressed when you finish...or use ProRes HQ. But then don't waste the drive space capturing as ProRes to edit. Use a lower data rate one like ProRes Proxy or DVCPRO HD. NO use wasting all that space if you won't be using it to finish.

That being said...I have finished over 40 shows in that codec. Output to HDCAM SR for Discovery and NatGeo.

[Julien Rosskam] "1. How does one set Final Cut Pro to render using Pro Res - is that just the "compressor" you choose in your sequence presets? "

SEQUENCE SETTINGS>RENDER CONTROL.

[Julien Rosskam] "2. Will this cause any potential problems down the line when outputting? "

No...not really. Done it lots.


[Julien Rosskam] "3. Are there any problems with keeping the SD footage SD right now until we are sure which SD footage will be used? Once we lock the edit, the SD footage will need to be upresed? And what is the best method for doing that? "

That is a pretty good idea. Easy if you color code the footage so that you can spot it right away on the timeline. Pull it out, make a separate sequence, media manage it using MAKE OFFLINE and choose the codec you want. Then do this:

http://library.creativecow.net/articles/ross_shane/aja_kona3.php

Kona 3, Kona LHi IOHD and Matrox MXO2 does hardware upconverts. Used all of them...(well, not LHi) and like all of them.



Shane



GETTING ORGANIZED WITH FINAL CUT PRO DVD...don't miss it.
Read my blog, Little Frog in High Def


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Julien Rosskam
Re: HD and Pro Res Workflow
on Nov 8, 2009 at 5:35:04 pm

Thanks for the help -- much appreciated

Jules


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