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darren behan
Don't want to mess this up
on Jul 16, 2012 at 1:19:40 pm

Hello everyone. I am in a tight spot and could do with some advice please. There is a lot of information regarding transcoding digital slr files for editing. My question has to do with following a particular workflow. It goes as follows. The edit has been handled in final cut pro. The h.264 files have been transcoded to apple pro res 422 for this purpose. My problem is now I am planning to take the final edit and transfer it to after effects for colour grading using plug ins such as magic bullet looks and colorista. I want to ensure the best quality at the final render as we hope to bring this to the festivals. What format should the edit be given to me in and what format do I bring it into after effects. Furthermore is the final render from after effects going to be mpeg2. I just need clarity here because this is my first big project and have never worked with this type of file before. Many many thanks for your help in advance.


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Dave LaRonde
Re: Don't want to mess this up
on Jul 16, 2012 at 2:39:36 pm

If you don't have Final Cut Pro installed on your computer, here's what you should do: get the latest version of Quicktime 7 Pro. Do NOT get Quicktime X. When render time comes, render out ProRes HQ files.

An FCP-equipped machine can render out ProRes 422 files, which would be just fine. But any other machine can only READ ProRes 422 and can't WRITE it, but it can render the HQ variant... which is also fine.

Dave LaRonde
Sr. Promotion Producer
KCRG-TV (ABC) Cedar Rapids, IA


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darren behan
Re: Don't want to mess this up
on Jul 16, 2012 at 7:05:04 pm

Hello Dave,
Once again you are a wealth of info. Thank you for your swift reply. I still am not sure, however, what format I should be using in after effects for colour grading. should i decompress the codec back to original format. many thanks.
Regards,

Darren


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Dave LaRonde
Re: Don't want to mess this up
on Jul 16, 2012 at 7:18:26 pm

If the acquisition codec was something like h.264, absolutely not. Nor any other codec used to shoot, for that matter. You'll gain nothing by doing this, and only create headaches for yourself later.

Stick with the edit codec used in FCP, ProRes 422.

If the FCP editor did the job properly, the original footage's acquisition codec would have been transcoded to ProRes 422 prior to editing in the first place. If it wasn't, give the editor a vigorous dope slap for not doing the job properly.

Dave LaRonde
Sr. Promotion Producer
KCRG-TV (ABC) Cedar Rapids, IA


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darren behan
Re: Don't want to mess this up
on Jul 17, 2012 at 8:54:39 am

Thankyou once more. Luckily the editor has converted to pro res 422. So I retain the codec at 422 for colour grading and render out as you had suggested in your first reply. That's great and thanks again for clearing this up.
Regards
Darren Behan


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