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Thomas Morter-Laing
Workflow question
on Nov 15, 2011 at 10:05:39 pm

Should be an easy one:
Im doing a project involving a lot of iSTock footage. Obviously I won't be downloading the good quality stuff until I know what the end timeline is going to be, but in the mean time I want to download their watermarked stuff and transcode it. However, because Ill be downloading a LOT and transcoding a lot, I want them to be small file size (not worried about quality until the end). The downloaded files are resolution 384x216.

When I bring in the clips at full quality, they'll be 1920x1080 (in whatever format iStock gives it to you)- so I want to do the whole reconnect media thing to get them all on the timeline in full HD.

What should I transcode the preliminary files to without having to worry about resizing stuff at the end? (If I work at a native 384x216 resolution, when it comes to replacing the bits at the end they'll be huge in comparison to the sequence frame size, and I don't want to have to change the frame size then resize any graphics files I may put on there) Should I transcode the 'preliminaries' to 1920x1080 (basically do a crappy upres)?

Thanks!

:D
Tom Morter-Laing
Freelance Editor,
Certified Apple Product Proffessional, 2010
http://www.depictproductions.co.uk

Sony Z5, with Rode NTG2.
iMac 27" intel i7 2.93GHz, 12GB RAM, ATI HD5750 [1GB GDDR5], 2TB Int. SATA with 2TB External HDD; (FW800), with Elgato Turbo H264HD.





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Shane Ross
Re: Workflow question
on Nov 15, 2011 at 11:49:20 pm

"so I want to do the whole reconnect media thing to get them all on the timeline in full HD. "

The ONLY way this will work...reconnect just by hitting RECONNECT...is if the timecode matches exactly, and the reel number matches exactly. Clip name should too, but you can bypass that by manually selecting the clip.

No, what I do with stock footage is keep the name...color the clips so that I can find them easily in the sequence. I will convert them to DV or offline RT...some FCP codec so they are easier to manage. But when it comes time to replace them with the masters, it is all a manual proposition. Manually look at the timecode (if you are lucky enough to have it match) and eye match the video, and cut it in.

Shane

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


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Thomas Morter-Laing
Re: Workflow question
on Nov 16, 2011 at 2:05:20 am

Thanks Shane, but I'm not sure that's quite what I meant-
The timecodes will be the same at the end. It's like this-
-Download crud, watermarked version of lots of Stock video (low res)
-Transcode it and upres it...? for easier editing from flv to ...?
-Edit the above in a timeline with sequence settings ...?
-Finish edit and download high res versions of all iStock footage which made it to the final cut
-Reconnect all iStock clips on timeline to the 1080p high quality ones. ---the reconnect process is the bit I'm fine with, the timecodes will be the same because it's the same footage, just higher res; and the title is usually the same just with something like "1080HQ" in the end which I'll just remove with an Automator rename.

My problems are the "...?" bits above, and the fact that of I keep the original clips at their current res, when it comes to reconnecting the better quality versions will be bigger than the setting on the timeline...
:D

:D
Tom Morter-Laing
Freelance Editor,
Certified Apple Product Proffessional, 2010
http://www.depictproductions.co.uk

Sony Z5, with Rode NTG2.
iMac 27" intel i7 2.93GHz, 12GB RAM, ATI HD5750 [1GB GDDR5], 2TB Int. SATA with 2TB External HDD; (FW800), with Elgato Turbo H264HD.





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Shane Ross
Re: Workflow question
on Nov 16, 2011 at 2:27:28 am

[Thomas Morter-Laing] "-Transcode it and upres it...?"

Whatever works. DV...something nice and light. If you want FULL sized...go to ProRes Proxy.

[Thomas Morter-Laing] "for easier editing from flv to ...?"

FLV? The low res is FLV? that's no way to deliver stock footage. Sure it is FLV?

[Thomas Morter-Laing] "-Edit the above in a timeline with sequence settings ...?"

Uhh...the sequence settings that matches the REST of the footage. That is ALWAYS the settings you use.

Shane

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


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Nick Price
Re: Workflow question
on Nov 16, 2011 at 10:39:37 pm

Hi
Definitely always use the same frame size. Will make your life a lot easier later with smy resizes, as you say. If you can live with the quality make them exactly the same as your timeline.
NIck


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