Final Cut Mastering Format for Mix Sources
Dear CreativeCow Moderator. This is my real name. Here is a link to IMDB for proof.
And now my question.
I am about to begin on-lining my feature documentary and am prepping it for color grading. I have about 15 different camera sources and frame rates. I am planning on going to DVD, BluRay and also offering it on iTunes as a digital download. In the past I primarily dealt with NTSC DVDs, but a PAL version is not out of the question. My color grader wants ProRes HQ, my question is should I go to 24p, 30p, 60i or other for the master? He mentioned that 23.98 PFS is an HD archive standard, but the majority of my footage is at 30P or 60i.
Here is a link to a spreadsheet that contains info on all the different sources. Thanks in advance for your help.
and here it is pasted with out formatting.
Source Dimension Codec Frame Rate Audio Sample Rate
Canon 5D 1920x1080 H.264 25 16Bit Integer Stereo 48k
Canon 7D 1920x1080 H.264 29.97 24bit Integer Stereo 48k
GoPro 1 - 1080 1920x1080 GoPro AVC 29.97 AAC Stereo Stereo 48K
GoPro 2 - 720 1280x720 Ambrella AVC 59.94 AAC Stereo Stereo 48K
Nikon D3100 1920x1080 H.264 23.98 16Bit Integer Mono 24k
Nikon D90 1280x720 Apple Open DML Jpeg 24 16Bit Mono 11.025k
Panasonic HMC150 1920x1080 H.264 29.97 24bit Integer Stereo 48k
Sanyo CG20 1920x1080 H.264 29.97 AAC Stereo Stereo 48K
Sanyo HD2000 1920x1080 H.264 59.94 AAC Stereo Stereo 48K
Sony HVRZ1U 1440x1080 HDV60i 29.97 16Bit Integer Stereo 48k
Sony HVRZ7U 1440x1080 HDV24p 23.98 16Bit Integer Stereo 48k
Sony XDCAM 1920x1080 XDCAM EX 1080p30 29.97 16Bit Integer Stereo 48k
Sony XDCAM Slow 1280x720 XDCAM EX 720p30 29.97 16Bit Integer Stereo 48k
Sony XDCAM Timelapse 1280x720 XDCAM EX 720p24 23.98 16Bit Integer Stereo 48k
Youtube Footage 1280x720 H.264 24.99 AAC Stereo Stereo 44.1k
Well, there are no "moderators" here, only fellow users.
I can tell you right now you are in for a bag of hurt. Mainly because you are asking what frame rate you should be mastering in. That is something you should know. That is something that should be known BEFORE editing began. Figure that out, then conform all the footage to meet that standard. BEFORE YOU EDIT preferred. And yes, it takes time. I know of many docs that shoot this many formats, but they take a few weeks making sure to conform everything to a single format/frame rate before they start...because they know of the issues of doing this later.
But now that editing is done, you need to do it in the end. And you have a large soup of formats, so this will not be easy. Unless you don't care about how the frame stutter looks, then it is easy....just render out your final. But I think you care about the quality, or you wouldn't be asking.
FCP does NOT do a good job of mixing frame rates. It does a horrible job as a matter of fact. It doesn't remove, nor add, pulldown properly (23.98 fps to 29.97, and vise versa). So the thing you have to do is use Compressor to convert one frame rate to another. And when you get the settings right, this can take a long time, because a good, proper conversion takes a lot of time.
First thing you need to determine is your final frame rate. What will it be? If most of your footage is 30p and 60i...that means 29.97fps. That's fine for DVD and BluRay, as well as the web. THen what you have to do is separate all the footage with the different frame rate...media manage them to smaller clips (only what is used in the timeline, with handles for transitions) via the Media Manager. Take all that footage into Compressor, and convert the frame rate (need to use specific settings for this), and then bring all the footage back, and manually cut it back into the sequence, replacing the other footage. And yes, manually. FCP will not reconnect to footage with different frame rates.
If your footage needs to be resized (720p to 1080), now is the time to do that too.
So you have a lot of work on your hands.
GETTING ORGANIZED WITH FINAL CUT PRO DVD...don't miss it.
Read my blog, Little Frog in High Def
Dear CreativeCow Moderator. Please do not disable this post. This is my real name. Here is a link to IMDB for proof.
Sorry, my last several posts have been rejected because they said it was not my real name, but it is.
Thanks for your response. Well, the doc was pulled together after it was shot, so I have everything from my own footage at 29.97 to 25fps footage from french producers, to 24p handy cam footage from spectators.
The good news is that I did conform everything to ProRes Proxy 29.97, before I started editing, so the editing timebase is 30p. I just was not able to convert all the source footage to ProRes HQ, so I am going to go back and reencode just the final clips into ProRes HQ. So what it sounds like is that I should stick with 29.97. Now can I mix interlaced and progressive footage in the same output, or should I interlace the progressive clips or visa versa.