soundman1024
01-30-2010, 06:03 PM
I've got a short I'm editing using Final Cut Studio. It was shot primarily on the HVX200 in720/24p and some pickup shots come from a D90 (50/1.8E).
This is my first P2 workflow scenario, so I used log/transfer to make HVX200 clips Apple ProRes422 HQ files (960x720 anamorphic, 23.976fps, 48kHz). Is the workflow correct thus far?
We've cut our narrative together and are looking to add the D90 clips to the timeline in a couple of days and get timecode locked up. I was wondering what the correct workflow is to add these. My understanding is the D90 shoots AVI files using the PhotoJPEG codec at 24.000fps and 11kHz audio. Obviously this is problematic due to the frame rate mismatch, the resolution mismatch, and the sample rate mismatch. The sample rate problem isn't a big deal since the audio will be tossed anyway, but I do want to keep it as it could be useful for syncing the clips up. I've got a couple of hunches about what the correct workflow is, but I don't know which one is best.
Should I:
1) Use Cinetools to conform the D90 footage to ProRes422 HQ, 1280x720 23.976fps, 48kHz audio.
2) Use Cinetools to conform the D90 footage to ProRes422 HQ, 960x720 23.976fps, 48kHz audio.
3) Use Compressor to conform the D90 footage to ProRes422 HQ, 1280x720 23.976fps, 48kHz audio.
4) Use Compressor to conform the D90 footage to ProRes422 HQ, 960x720 23.976fps, 48kHz audio.
5) Use Compressor to transcode the D90 footage to ProRes422 HQ, 1280x720 24fps, 48kHz audio. This would be a pass-through transcode to ProRes and dithering on the audio..closest to the source file.
6) Use Compressor to transcode the D90 footage to ProRes422 HQ, 960x720 24fps, 48kHz audio.
7) Just drop it in Final Cut and let it handle the footage and spend a week rendering.
Advice?
This is my first P2 workflow scenario, so I used log/transfer to make HVX200 clips Apple ProRes422 HQ files (960x720 anamorphic, 23.976fps, 48kHz). Is the workflow correct thus far?
We've cut our narrative together and are looking to add the D90 clips to the timeline in a couple of days and get timecode locked up. I was wondering what the correct workflow is to add these. My understanding is the D90 shoots AVI files using the PhotoJPEG codec at 24.000fps and 11kHz audio. Obviously this is problematic due to the frame rate mismatch, the resolution mismatch, and the sample rate mismatch. The sample rate problem isn't a big deal since the audio will be tossed anyway, but I do want to keep it as it could be useful for syncing the clips up. I've got a couple of hunches about what the correct workflow is, but I don't know which one is best.
Should I:
1) Use Cinetools to conform the D90 footage to ProRes422 HQ, 1280x720 23.976fps, 48kHz audio.
2) Use Cinetools to conform the D90 footage to ProRes422 HQ, 960x720 23.976fps, 48kHz audio.
3) Use Compressor to conform the D90 footage to ProRes422 HQ, 1280x720 23.976fps, 48kHz audio.
4) Use Compressor to conform the D90 footage to ProRes422 HQ, 960x720 23.976fps, 48kHz audio.
5) Use Compressor to transcode the D90 footage to ProRes422 HQ, 1280x720 24fps, 48kHz audio. This would be a pass-through transcode to ProRes and dithering on the audio..closest to the source file.
6) Use Compressor to transcode the D90 footage to ProRes422 HQ, 960x720 24fps, 48kHz audio.
7) Just drop it in Final Cut and let it handle the footage and spend a week rendering.
Advice?