AF100 & PPro 5.5 Workflow Questions.

[BollingerPro]

Friends,

I am "considering" switching from FCP 7 to PPro 5.5. I have an AF100 and I am not sure how you ingest the media. What formats to you transcode to? Is there a plugin for AVCHD?

Any help would be greatly appreciated.

Nathan

 

[Paul Hudson]

No transcoding just import the files and go to work. It is that easy.

 

[BollingerPro]

So what codec do you recommend using for AVCHD? ProRes?

 

[Shooter]

You do not need a Prores transcode to edit in PremPro.

It edits your AVCHD files natively.

Take the entire PRIVATE Folder from the camera card to your local hard drive and then in PPRO...use the Media Browser to locate the mts files in the Stream. Import them to a Project Bin .

 

[BollingerPro]

How do you organize and rename the MTS files? Is there a way to batch rename as you import?

 

[Ann Bens]

You can batch rename in the Bridge.

 

[BollingerPro]

So I am needing a workflow that would allow me not to use FCP Log and Transfer yet still get MTS files transcoded to ProRes to use in PPro 5.5.

As you know, the AF100 doesn't have unique clip names which is a real bummer. Any ideas on this type of workflow?

 

[Jim Simon]

You can batch rename in the Bridge.

It's really not a good idea to be renaming anything inside the folders for solid state media.

 

[Jim Simon]

How do you organize and rename the MTS files?

On the hard drive? You don't. If you must rename them, do so only in your bins.

 

[Jim Simon]

Any ideas on this type of workflow?

The best advice may be to change your work flow. Keep the files native and unaltered.

 

[BollingerPro]

After looking into how PPro handles AVCHD media, I am going to be transcoding everything to ProRes 422LT or using the Atomos Samurai. I need a way to have unique names for my clips and not 0001.mts like the AF100 spits out. I will need to have good naming conventions for CatDV implementation so this seem the best way so far.

Thanks for your input!

 

[Phil1076]

You can batch rename in the Bridge.

Bad, bad idea.



If you need truly unique names (for example, multi-cam footage), then you can transcode to Prores or DNxHD and then edit in Premiere. There are hundreds of articles on AVCHD workflow in Premiere.

 

[Gary Huff]

Can I ask why you need to have the MTS files transcoded to ProRes in the first place? Are you aware that Premiere is not optimized for ProRes?

 

[Phil1076]

You don't NEED to have anything transcoded in Premiere.....and please explain to me how Premiere is "not optimized" for Prores.

The main reasons you MAY want to transcode to Prores or DNxHD are:

-easier editing/color correction/adding of effects on slower computers.
-more descriptive filenames, especially in multicam shoots. For example, if I have a 3-cam shoot then I have three cards, each with a PRIVATE directory tree, and each one with 00000.MTS, 00001.MTS, etc etc.....instead, I can transcode to DNxHD, for example, and have 1 .mov file that is much more descriptive. For example: Cam1_clip1.mov, cam3_clip5.mov, etc etc. It makes it easier to organize the data.

 

[Shooter]

If you are going to use the Samurai its simple to have unique file names.

You name "the device" for each production and that becomes a Prefix in the filename.

You also have Slate and Scene naming functionality and that shows in the filename.

FWIW - in a tapeless workflow its no big deal to work with the mts filenames if you organise your folder structure well.

The only klutzinees is that AVCHD 1st file on the SD card is 0000.mts. We work around that by "wasting it" on Bars before getting the Samurai to trigger record. That makes the file numbers correspond. The Samurai starts at 00001.