Forgot to Transcode footage, and edited an entire scene. :/

7

7Dpimpin

Member
I know, I know. My question is... will this have any negative effect on my scene? Should I start over? The scene is completely edited, don't know how the hell I forgot to transcode. Should I just export and then transcode the final scene to put back in my timeline?
:cry:
 
just transcode your clips, reconnect the media in final cut. There will be an error message saying that the start and end times dont match... reconnect anyway. Should work, but the reconnecting process might be a little bit of a ***** since all the files will have different names.
 
I don't see what the problem is. If that one clip is the only one not transcoded, then only that part of the scene (when editing) will run slower, if at all. The look shouldn't be dfiferent from your other clips, unless the transcoder makes it look different.
 
yeah i thought transcoding just helped editing.

If you were able to edit without it, then the final product should be the same (from my understanding)
 
The transcoded footage usually handles color grading and dissolve/other effects a bit better.
 
Yeah any filters and transitions you apply on a non-transcoded timeline are going to fall apart in terms of quality...

Noah
 
Can anyone suggest a good wide angle for a t2i while we are on the subject of lenses? I will be mostly filming skiing with it and usually in sunny conditions but will several cloudy light days.
 
JAWflyer3 said:
Can anyone suggest a good wide angle for a t2i while we are on the subject of lenses? I will be mostly filming skiing with it and usually in sunny conditions but will several cloudy light days.
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who was talking about lenses?

Anywho - check the lens section above.
 
boulder said:
This has not been my experience.
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Viewed on a high-end broadcast calibrated HD monitor feeding off a Kona 3 I think you might notice the loss in quality a lot more readily if you haven't had the chance to yet. But anyways my point is that H.264 is a highly-compressed, low bitrate web codec- it's not designed or suitable for high-end grading and transitions.

That's why we recommend transcoding to ProRes- much higher bitrate and quality that stands up to more instensive manipulation. But anyways, it's just a suggestion. If you are happy with just H.264 for your needs- don't bother yourself.

Noah
 
NoahK said:
That's why we recommend transcoding to ProRes- much higher bitrate and quality that stands up to more instensive manipulation.
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What I fail to understand is how a ProPres file based on a H.264 source will handle any better than the source in terms of image quality? In layman terms, once you open a crappy compressed jpeg in photoshop and save it as a tiff, it doesn't make it handle any better. You can set the image to 16bit mode or 32bit floating for better gradiants/tone but that doesn't require an intermediate file, only the project/sequence/composition settings.
 
shaocaholica said:
What I fail to understand is how a ProPres file based on a H.264 source will handle any better than the source in terms of image quality? In layman terms, once you open a crappy compressed jpeg in photoshop and save it as a tiff, it doesn't make it handle any better. You can set the image to 16bit mode or 32bit floating for better gradiants/tone but that doesn't require an intermediate file, only the project/sequence/composition settings.
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I think what he's saying is that transcoding to ProRes won't add quality. It will just provide your NLE/motion graphics software a format that will handle color grading, effects, etc. better.
 
handsome pete said:
I think what he's saying is that transcoding to ProRes won't add quality. It will just provide your NLE/motion graphics software a format that will handle color grading, effects, etc. better.
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Ok, but I didn't realize NLEs and compositors cared about the source format. You can have a 4:2:0 8bit source in a 32bit floating point project. I don't see how image quality will change if you transcode that source to 444 32bit.
 
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