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Log and Transfer DVCPROHD P2 files for 1080p23.976 project

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Rosie Walunas
Log and Transfer DVCPROHD P2 files for 1080p23.976 project
on Sep 1, 2014 at 1:33:00 am

Working a 1080p23.976 project. Low res to high res. They shot some stuff on a spare HVX on P2 cards.

FCP7 won't transcode to ProRes, I guess you can't and have to transcode again. Problem is the frame rate. FCP doesn't seem to be recognizing it correctly. The transcodes are 29.97. Codec DVCPROHD 1080p29.97. Frame size is not 1920x1080 but 1280x1080. When I popped into Premiere CC trial, the clips were 1280x1080 but frame rate was 23.976, but before the Import, Premiere was readingthem as 1080i. Premiere seems more correct to kick out here transcodes and converts.

What to do? There has to be an outlined workflow by now.

I'm familiar with capturing 1080i tape that plays back through a 720p59.94 kind of wrapper so the footage looks progressive, but that's Avid and not tape.

Thanks.


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Shane Ross
Re: Log and Transfer DVCPROHD P2 files for 1080p23.976 project
on Sep 1, 2014 at 7:08:19 am

[Rosie Walunas] "FCP7 won't transcode to ProRes"

Correct. DVCPRO HD footage comes in as DVCPRO HD. No recompression. Simply changing the container from MXF to Quicktime. Zero quality loss. And FCP doesn't transcode...only brings it in as DVCPRO HD. But it works with DVCPRO HD very well. That's the first HD format it worked with.

[Rosie Walunas] "Problem is the frame rate. FCP doesn't seem to be recognizing it correctly. The transcodes are 29.97. Codec DVCPROHD 1080p29.97. "

DVCPRO HD at 1080 only shoots 29.97. There are settings on the camera for 24p...but they are two different settings. If you shot 1080i 24p...then it shoots 29.97 with the LOOK of 23.98. But if you shoot 1080i 24pA...the A indicates Advanced Pulldown Removal...the footage is flagged as 23.98. So then in the FCP Log and Transfer preferences you check off REMOVE ADVANCED PULLDOWN and then FCP will remove the pulldown. But if you shot 1080i 24p...it won't remove pulldown because flags weren't set at the time of shooting. The footage will either come in as 29.97...or if it does come in at 23.98...it'll be way off sync because the footage wasn't flagged for this workflow.

[Rosie Walunas] "Frame size is not 1920x1080 but 1280x1080."

Correct. DVCPRO HD at 1080 is anamorphic...EXTRA anamorphic. This is how the data rate stays so low. It's squeezed. FCP unsqueezes it to play back properly. PPro does too.

[Rosie Walunas] "When I popped into Premiere CC trial, the clips were 1280x1080 but frame rate was 23.976, but before the Import, Premiere was readingthem as 1080i."

Then the flags are there...you just need to tell FCP to remove the pulldown.

[Rosie Walunas] "What to do? There has to be an outlined workflow by now."

Oh...I've outlined this workflow for YEARS. Made tutorials for this for FCP 5.1, 6 and 7. Here's the one for FCP 7.

http://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1

Or also here







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


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Rosie Walunas
Re: Log and Transfer DVCPROHD P2 files for 1080p23.976 project
on Sep 1, 2014 at 12:49:46 pm

Thank you Shane Ross.

When I get back to the footage, I'll check the pull down box, and hopefully it'll come through as 23.976.

But what do you mean about the sync being off? It's not a camera that has to be synced with another, just extra BRoll. You don't mean the audio will be off from the footage do you?

They have been editing ProRes low res to high res, so they're not going to be happy with DVCPro in the timeline for rendering sake, stability, etc. Is there a way around this?

About to watch these tutorials! Thank you!


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Rosie Walunas
Re: Log and Transfer DVCPROHD P2 files for 1080p23.976 project
on Sep 1, 2014 at 1:34:15 pm

Hi again. Just watch this tutorial, and I've seen the other low res to high res tapeless one.

I'm just confused about how the DVCPROHD tapeless would be handled low res to high res if these people want to be editing in Pro Res only, which of obvious reasons they are adamant about.

I understand the pulldown check box for this format, but obviously if this compression only comes in as DVCPROHD, the nature of that will disrupt this ProRes low res to high res workflow, no?

Not sure what to do. It seems like too much footage to transcode to ProRes HQ then recompress down to LT on their edit drive.

Thanks for these guides!


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Shane Ross
Re: Log and Transfer DVCPROHD P2 files for 1080p23.976 project
on Sep 1, 2014 at 5:38:23 pm

[Rosie Walunas] "I'm just confused about how the DVCPROHD tapeless would be handled low res to high res if these people want to be editing in Pro Res only, which of obvious reasons they are adamant about."

They will need to plan around this...or plan for it. Provide them with all the raw source footage (P2 card offloads) and they can import and organize. Work with the footage as DVCPRO HD with a green render bar. Then batch capture will reimport it again...but as DVCPRO HD. Which is full res.

If they are ADAMANT or INSISTING on ProRes only...that speaks to inexperience with the format and workflow. But they can do it, but they will have to do things differently...and more complex. You'll have to import the footage as DVCPRO HD, then convert it to ProRes (422, HQ...whatever) and they can then work with it full res in their offline timeline. OR...if they are "insisting it match the offline footage exactly" you can then convert THAT footage AGAIN to ProRes Proxy. Edit, and then separate the footage because it'll have to be relinked differently than the other footage. This is far more complex of a workflow...simply to meet their demands that the footage match what they have.

Or import the footage as DVCPRO HD... (again, provide them the raw P2 offloads so they can do this) edit it with the rest of the footage, then batch capture later (It will still come in as DVCPRO HD)...and simply render. Wondering if they will be angry that the footage is DVCPRO HD when everything else is ProRes...if so, their inexperience will show. The footage will be full quality, and when rendered, will render to ProRes (the render files). But how they online/color grade my end up converting it to ProRes.

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


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Shane Ross
Re: Log and Transfer DVCPROHD P2 files for 1080p23.976 project
on Sep 1, 2014 at 5:28:25 pm

[Rosie Walunas] "But what do you mean about the sync being off? It's not a camera that has to be synced with another, just extra BRoll. You don't mean the audio will be off from the footage do you?"

I mean the audio of the footage you shot won't by in sync with itself. If the footage was shot 1080i 24p, and not 1080i 24pA, and you remove pulldown, audio sync will be off. on the footage you imported.

[Rosie Walunas] "They have been editing ProRes low res to high res, so they're not going to be happy with DVCPro in the timeline for rendering sake, stability, etc. Is there a way around this?"

There really will be no rendering needed. Sure, it will show up in the timeline with a green render bar, but that will play back perfectly fine, no skipping or loss of quality. The only way around it would be to transcode the imported footage to the exact same settings they are working with. But how this works into their offline/online workflow...it can be tricky, but is doable. If they shot other formats that allowed them to import low res and then batch capture in full quality...then this footage will have to be flagged separately and simply skipped at that point.

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


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