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FCP 7 Editing Canon 5D footages for a TV show

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Mikiko Katsuno
FCP 7 Editing Canon 5D footages for a TV show
on Feb 21, 2014 at 7:51:57 am
Last Edited By Mikiko Katsuno on Feb 21, 2014 at 8:26:02 am

Good evening, guys!

I have footages shot by Canon 5D Mark II, III and Canon 6D.
I need to submit a DVCProHD1080i60 file on a HD Cam Tape at the end.
Now, I have learned that I should convert the original footages with h.264 codec
to Final Cut 7 Friendly Files first to bring to a browser and drop down on a timeline in Final Cut 7.


My question is,

Should I convert the files to Apple ProRes 422 HQ 1920x1080, 23.98fps, first
and edit in the ProRes sequence, then export as a DVCProHD1080i60 in something like Compressor?

or

Should I just convert straight to DVCPro1080i60i and edit it in a DVCProHD1080i60 sequence?


Could you explain why one way is better than the other as well?




Thanks for your help!

Mikiko Katsuno


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Shane Ross
Re: FCP 7 Editing Canon 5D footages for a TV show
on Feb 21, 2014 at 8:28:51 am

[Mikiko Katsuno] "I need to submit a DVCProHD1080i60 file on a HD Cam Tape at the end."

Well, that isn't possible. HDCAM and DVCPRO HD are two completely different types of tape. And you can't put files on tape...it's like VHS, or BETASP...it records images, not data.

[Mikiko Katsuno] "Should I convert the files to Apple ProRes 422 HQ 1920x1080, 23.98fps, first?"

Yes.

[Mikiko Katsuno] "Should I just convert straight to DVCPro1080i60i?"

No. ProRes is full raster 1920x1080...and 10 bit color. DVCPRO HD is thin raster 1280x1080 and 8 bit. There'll be far more compression than ProREs. I'd personally convert to ProRes. UNLESS the requirement is DVCPRO HD. But you said you needed to go to tape, HDCAM. You are giving conflicting information.

Shane
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Read my blog, Little Frog in High Def


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Mikiko Katsuno
Re: FCP 7 Editing Canon 5D footages for a TV show
on Feb 21, 2014 at 4:12:57 pm

Shane, it's my mistake.
The ending products will be a DVCPro HD 60i.
Please disregard the HDCam tape part.

Having said that, should I do the ProRes edit and export as DVCProHD60i?
Or entire edit in DVCProHD?

I think it'll be better to stick with ProRes edit then DVCPro export
because there'll be a big down conversion only at the end, not at the beginning?

Could you give me your suggestion?

Mikiko Katsuno


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Shane Ross
Re: FCP 7 Editing Canon 5D footages for a TV show
on Feb 21, 2014 at 5:05:29 pm

YOur idea is sound. Convert to ProRes, edit ProRes, export a master in ProRes, then use Compressor to make a DVCPRO HD version. MAke the best possible master you can, then deal with the deliverable.

Shane
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Read my blog, Little Frog in High Def


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Mikiko Katsuno
Re: FCP 7 Editing Canon 5D footages for a TV show
on Feb 21, 2014 at 7:26:09 pm

Could you briefly explain why it's important to edit in the better(or best) quality sequence and files, then export/down convert it at the end?
In this particular case, what's the reason for not to edit in DVCProHD60i a.k.a. edit in ProRes when the end product file is the same DVCProHD?

Mikiko Katsuno


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Shane Ross
Re: FCP 7 Editing Canon 5D footages for a TV show
on Feb 21, 2014 at 8:06:26 pm

[Mikiko Katsuno] "Could you briefly explain why it's important to edit in the better(or best) quality sequence and files, then export/down convert it at the end?"

Why? Because it is the better quality...looks better. You can convert after. Why compress all your footage to look like poo (sorry, DVCPRO HD is poo compared to ProRes) from the get go? Part of the goal of editing is not only telling a good story, but also making is look as good as you can. SOme people shoot HD but deliver SD. They don't convert to SD and edit in that, then deliver. They edit HD, export an HD master, then make an SD version. So that you have a higher quality version as your master...in case someone wants it.

It's up to you as to what you do. I'm just saying that in my opinion, it's best to work in high quality, then compress only the final product. This is based on years of experience doing this. Oh...one reason to have ProRes is that in order for people to view DVCPRO HD files created by FCP...the computer they want to view them on MUST have FCP installed, or some Apple pro app (like Compressor). The DVCPRO HD codec only comes with the pro apps. So if your client wants the DVCPRO HD master file...and wants to watch it some day, they can't, unless they have FCP installed. And they might call to complain that they can't see it. ANd you go "Oh, I have a prores master you can have." ProRes codec is built into QUicktime...they can view that fine

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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Mikiko Katsuno
Re: FCP 7 Editing Canon 5D footages for a TV show
on Feb 21, 2014 at 9:14:21 pm

Thanks for explaining all above!

I've been having difficulty convincing somebody in charge of this project to edit the segment in ProRes files/sequence for a month now.
Since my company have done all our previous edits in DVCProHD sequence,
this person doesn't change her mind.

Well, the previous projects were all shot by AVCHDCam 27.97fps,
which the original files were already like "Poo" to the footages shot by 5D.
Log and transfer those AVCHD 27.97 files, make it ProRes, bring those to a DVCProHD60i sequence timeline, and exporting it
haven't been a problem until now, I guess.

As you explained, however, I agree that i should edit in the better quality (ProRes HQ) as I can.
Especially because the 5D footages are pretty good quality (not like AVCHD),
and the frame rates are different between 23.98 and 60i.

I wish you were my colleague or boss!

Thanks for your valuable advices!

Mikiko Katsuno


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