VideoMaker
Well-known member
Shawn, I installed this 5.25" trayless sata hot swap drive bay in my video PC. This lets me have unlimited number of swappable drives for storage. Works great!
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Starting out with HMC150, need workflow/NLE advice please!
- Thread starter shawn.w
- Start date
Shawn, I installed this 5.25" trayless sata hot swap drive bay in my video PC. This lets me have unlimited number of swappable drives for storage. Works great!
- what exactly would be the best possible format for this project? if im going to dvd and web video, why do i need to shoot over 720? also, does anyone recommend 60i or 30p or 24p for this sort of long form promo video? any mode have less issues and work better with adding motion graphics or color correction?
- I read about proxies being something like you bring in your HD footage, then open up a SD sequence or down convert to SD, edit in SD, then somehow revert back to HD before export, thus having edited with SD in proxy for HD? still not clear on how this works. i will likely be using PPro CS4 if someone could explain how it would work in that program.
- with transcoding, using something like cineform, i start with my AVCHD files, then transcode to cineform avi, but do i export using the cineform avi in the timeline? or do i somehow revert back to the original AVCHD before export?
as you can probably tell ive got somewhat of a learning disability, its hard for me to process all this technical data without visuals or examples, so please dont hesitate to explain things like you would to a child or total beginner, it will help a lot in my case. thanks!
- Shawn
Anyone got any recommendations or info on the above questions as i start shooting this week, it would help a bunch, thanks.
All the typical transcode codecs (Cineform/Canopus/Pro Res, etc.), are good enough to do your final renders with, and provide a larger color space to color correct, so no, you can archive the avchd .mts files after transcoding.
Proxy files are typically for underpowered computers or for space requirements. For example, you could have full res uncompressed HD files on a desktop edit station, and do your edits on low-res proxy files on a laptop, later reconnecting to the uncompressed files for color grading and rendering. However, in your case, your computer can handle the transcoded codecs just fine.
Others may have a better suggestion for format, but based on web and dvd delivery, I'd go with 1080/30p unless you plan on ever using it in a country that uses the PAL standard (europe, etc.). Progressive will give you the best quality for web video and 1080 will give you the most color information and ability to crop to an SD frame size.
For example, the workflow I'd use is: Shoot 1080/30p, Transcode the cards to your format of choice, drop the transcoded files into an SD timeline, edit, render dvd and web formats.
Hope that helps some!
Proxy files are typically for underpowered computers or for space requirements. For example, you could have full res uncompressed HD files on a desktop edit station, and do your edits on low-res proxy files on a laptop, later reconnecting to the uncompressed files for color grading and rendering. However, in your case, your computer can handle the transcoded codecs just fine.
Others may have a better suggestion for format, but based on web and dvd delivery, I'd go with 1080/30p unless you plan on ever using it in a country that uses the PAL standard (europe, etc.). Progressive will give you the best quality for web video and 1080 will give you the most color information and ability to crop to an SD frame size.
For example, the workflow I'd use is: Shoot 1080/30p, Transcode the cards to your format of choice, drop the transcoded files into an SD timeline, edit, render dvd and web formats.
Hope that helps some!
thanks knox,
Why "drop the transcoded files into an SD timeline"? dont most people edit in a timeline native to their footage? although im not sure what would be native to the prospect HD file?
Also, i may want to shoot 1080 60i or 720 60P sometimes to take advantage of the dynamic range system the camera has, which one of those would mesh best with 1080 30P in editing? or i guess for transcoding to prospect HD then editing.
thanks!
Why "drop the transcoded files into an SD timeline"? dont most people edit in a timeline native to their footage? although im not sure what would be native to the prospect HD file?
Also, i may want to shoot 1080 60i or 720 60P sometimes to take advantage of the dynamic range system the camera has, which one of those would mesh best with 1080 30P in editing? or i guess for transcoding to prospect HD then editing.
thanks!
Well, technically, you can drop it in an HD timeline, but then you can do your cropping and previewing on a format closer to your output.
If you go with 30p delivery, then shoot 720/60p for slow motion shots. 60i won't look near as good as 60 full frame images per second. The difference between 1080 and 720 footage when downconverted to SD won't make any real difference, in fact, you're probably fine to shoot 720/30p for normal footage, but for "best quality" shoot 1080.
If you go with 30p delivery, then shoot 720/60p for slow motion shots. 60i won't look near as good as 60 full frame images per second. The difference between 1080 and 720 footage when downconverted to SD won't make any real difference, in fact, you're probably fine to shoot 720/30p for normal footage, but for "best quality" shoot 1080.