Sequence and Capture Preset Setting

E

enrico

Well-known member
What would be the best Sequence and Capture Presets to edit 30fps footage from a Canon 7D (with Pro Res 422 HQ ) and Canon DV HX A1s? Presently I have the Sequence Setting at HDV - 1080i60 and the Capture Preset at HDV. When I drop footage on the FCP 7 timeline from either of these 2 cameras to start a new sequence, they initially automatically redirect settings in different directions. Is there a best Sequence and Capture Preset setting to accommodate both?

Thanks,

Enrico
 
You need to pick a codec and stick with it.

First, capture settings have absolutely nothing to do with your 7D footage. That's a setting for footage you capture from an external camera or deck., a la your HX-A1s.

Second, HDV is a GOP codec and was never intended to be an editing codec, just like h.264. Even though FCP now offers native HDV editing, there are better ways to go about it. You need an i-frame codec that is meant for editing, such as ProRes. But since you have your sequence set up for HDV, dropping a ProRes file into the time line is going to cause FCP to ask you about conforming settings.

Third, your 7D footage has been converted to ProRes, which is a fine choice for editing. You should also convert your HDV footage to the same codec, and set your FCP project for ProRes as well.

Last, you have a completely different issue going on as well...

You're shooting 60i footage with the XH-A1s, but your 7D shoots 1080p30. These are not going to intermingle well, since one is interlaced and the other progressive. You need to set your XH-A1s to 1080p30 to keep things consistent.
 
This is my very first project in HD coming from an SD background so I really appreciate the workflow feedback. I can convert the HDV footage to ProRes. Then is the best capture setting for the HX-A1s, HDV-Apple ProRes 422 (HQ)?

Sequence Preset should be Apple ProRes 422 (HQ) 1920x1080 30p 48KHz?

My HDV recording signal setup on the XH-A1s is 1080i/480i in 30F. I don't believe the camera has a 1080p30 setting. Is that an issue?
 
Just checked the specs on the XH-A1s. You're correct: it will not shoot progressive. Yes, that's an issue. Trying to edit progressive and interlaced material together is not the best idea.
 
I have been using both cameras for 2 shot interviews. What do you think is the best workflow for editing?
 
Since the interview footage is already filmed, has anyone had successful experiences editing with those popular cameras together (progressive and interlaced) together in a FCP timeline?
 
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C2V said:
Just checked the specs on the XH-A1s. You're correct: it will not shoot progressive. Yes, that's an issue. Trying to edit progressive and interlaced material together is not the best idea.
Click to expand...
It has very good fake progressive modes (F modes) that actually are recognized as progressive when you transcode to prores on capture.
That said, the 1080i/480i comp out setting has nothing to do with how the footage is being recorded. My understanding is that all that setting means is that the component video output is switchable between 1080i and 480i based on whether you're shooting / playing back HDV or SD, as opposed to outputting 480i no matter what. It sounds like you have it set to 30F though, which is exactly what you want. If you transcode to prores on capture, the only thing that will require rendering is that the resolutions are different.
 
Thank you for your feedback. Using those two cameras, would you say that the best Sequence Preset for a mixed (progressive and interlaced) project might be Apple ProRes 422 1920x1080 30p 48KHz (though the HX-A1s camera is filming 1440x1080)?

And Capture Preset at HDV-Apple ProRes 422 to log and capture HX-A1s footage?
 
You're not dealing with any interlaced footage if the XH A1s (not HX) is set to 30F and you're capturing HDV Apple ProRes 422. If you were dealing with both interlaced and progressive, you probably want an interlaced project, but since you're not, then a 30p project is what you want.
I'm not exactly sure about the resolution though. In the past when I've had to mix A1 and 7D footage, I've used a 1440x1080 sequence but maybe 1920x1080 would be better. I'd give them both a try and see if either one looks better. If the difference isn't noticeable, go with whatever you plan on using more of so that you don't have to render as much material.
 
Thanks very much Moseph. It's really good to know that in capturing the interlaced footage with HDV Apple ProRes 422, it's like converting it to progressive.

I once tried an Mpeg Streamclip conversion with 24fps XH-A1s footage and the 1920x1080 was fine while the 1440x1080 looked a little squished. I'll also have to convert some of that footage to 30fps.
Will that be an issue?
 
But 30F is not even an interlaced image to begin with, it's virtually identical to 30p. It may be recorded into a 60i stream but it's not the same as if you were shooting in 60i at all.
I'm having trouble what you mean with mpeg streamclip though. Any conversion with that program shouldn't come till way later on. If you can't get your material to look right when you export it as 1440x1080, then use 1920x1080. That's what it'll get displayed as anyways.
You probably will run into trouble with the 24F XH A1s footage though. You have a couple options - conform it to 30p which will speed it up by 25 percent, or convert it to 30p and get nasty looking frame blending.
 
Sorry, this is my first edit test in HD and since switching from SD editing, I'm trying to learn and adjust to the very different scenarios.
I just tried comparing between the 1920x1080 Sequence Preset and there's little difference with the 1440x1080.
They look better on the mac monitor (though sometimes a few ripples here and there), but since I'm used to relying primarily for monitoring on an NTSC monitor (modified now for 16:9 monitoring with Blackmagic Intensity Pro), some straight lines like hydro tower lines look broken up and jagged. In SD, all I'd have to do was de-interlace it and it would be fixed. I'm not sure if it's the monitor that's doing that or which (NTSC or Mac) monitor to trust more for that. What do you think?
 
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That sounds like moire artifacts / aliasing from the downconversion of HD to SD. I've seen this myself on a Sony NTSC client monitor that I was borrowing for a while and I wouldn't worry about it.
 
The best option then seems to go with the 1920x1080 30P. That's good to keep in mind with my JVC NTSC monitor. I guess I'll have to split the difference viewing between it and the Mac monitor.

The 24F issue is a tough one if I want to mix that interview footage with the 30F. Either seems not like good options, but the audio issue in conforming can't work. Perhaps I'll have to experiment by trying Quicktime Conversion?
I really appreciater your feedback.
 
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