Transcoding walk through..

W

whitehorse84

Member
Hey guys.. and gals!

I've currently been doing a lot of data management jobs with the 7D and Alexa and have had no hickups yet..

I just did a small job which was shot on the 7d and was asked if I could transcode the footage as well.. from the current format to prores 422

now, the 7D is a .mov H264 format correct? 23.98fps..

now, I passed this along to editing since I haven't transcoded before.. I understand that I would need to use cinema tools to change the frame rate of the files? what would I change the fps to?

if someone could give me a walk through to turn these h264 files into prores 422 format that would be awesome!

Also, i Just recently purchased Final Cut Studio 3.. can someone explain to me what I'd use compression for?
 
The camera shoots in h.264, yes. It shoots at 23.98 (23.976, really) in 24p mode. 29.97 in 30p mode. 59.94 in 60p mode. But why would you need to change the frame rate? Unless you have some 60p footage that needs to be conformed to 24p or 30p for slow-mo, the frame rate should have been set with the end-product in mind.

Compressor is a program bundled with FCS that's used to transcode files, or to compress them for DVD or Internet. You can use it to convert the camera's files to ProRes, or you can use MPEG StreamClip (freeware, from squared5.com) to transcode the files to ProRes.
 
C2V said:
The camera shoots in h.264, yes. It shoots at 23.98 (23.976, really) in 24p mode. 29.97 in 30p mode. 59.94 in 60p mode. But why would you need to change the frame rate? Unless you have some 60p footage that needs to be conformed to 24p or 30p for slow-mo, the frame rate should have been set with the end-product in mind.

Compressor is a program bundled with FCS that's used to transcode files, or to compress them for DVD or Internet. You can use it to convert the camera's files to ProRes, or you can use MPEG StreamClip (freeware, from squared5.com) to transcode the files to ProRes.
Click to expand...

Transcoding allows for easier workflow. I believe Premiere can handle native Canon DSLR files, but you have to transcode for FCP and (I believe) SVP.

There's a few different ways to transcode. There's a plugin for FCP that allows you to do this. I don't use the plugin because it requires you to keep your files exactly how they are from the card (DCIM----> etc). I'm not nearly organized enough for that. So I use MPEG streamclip. Free program. Does batch editing. Very few hiccups.

Transcode all your .mov files to Prores 422 (regular or LT). Turn up quality to 100 percent and un-check the interlaced scaling option on the lower right side.

Hope that helps.
 
jordy2324 said:
Transcoding allows for easier workflow. I believe Premiere can handle native Canon DSLR files, but you have to transcode for FCP and (I believe) SVP.
Click to expand...

The original question was about transcoding to ProRes, which would indicate a FCP workflow. Not trying to open a can of worms, but there are several reasons not to edit native h.264 files, even using NLEs that can do that. If you'd like to get into that issue, there's a thread on it HERE.
 
thanks guys!

I've tried to use a few programs to convert (unsoft Video Converter) but for some reason I would only get an audio file from it? I followed the directions I saw online as well.

I just recently purchased final cut suite and would like to use that to convert the files to prores 422.. is that possible? if so... can someone fill me on on a step by step?

thank again!
 
nicksnow said:
Read Jordy's post and use MPEG Streamclip. Consider this a step by step guide!
Click to expand...

That's my preference anyway. There's a handful of ways to do it. I just use streamclip because it's easiest for me -- dump files off card, transcode in streamclip, import into FCP.... ready to go.
 
thanks guys.

Jordy, when I open up the .mov h264 file with stream streamclip then click on "export as".. which do I select to make it into an edible file? I don't see prores 422 anywhere in the options.
 
If you want the highest resolution and D/R out of the 7D you really should investigate 5DtoRGB.
It takes longer to transcode but the difference is significant.

Yes, I am a friend of the author, no I am not paid or endorsed to promote his product.
 
thanks Bill! I'll check it out!

So i got Streamclip to work, using the batch method..

The DP on this small job was talking about taking the MOV file before transcoding it and running it through cinema tools to change the FPS? Which I dont understand.. if it's shot in 24fps (23.98) what would I change the frame rate too? I didn't quite understand this to be honest.

Would I do this and THEN run it through streamclip? also.. what is the difference between proress 422, 422 HQ, 422 LT, and 422 Proxy? If this was just going to simply be edited in FCP what would be the best way to go?

you guys are a ton of help!!
 
whitehorse84 said:
The DP on this small job was talking about taking the MOV file before transcoding it and running it through cinema tools to change the FPS? Which I dont understand.. if it's shot in 24fps (23.98) what would I change the frame rate too? I didn't quite understand this to be honest.

Would I do this and THEN run it through streamclip?
Click to expand...

The DP needs to tell you which frame rate to use, but he also needs to tell you whether you're simply conforming the frame rate or performing a telecine instead. Simply conforming the frame rate changes the playback speed. Telecine converts the 23.98 video to interlaced 29.97, and is used to edit 24p material into a standard 29.97 (60i) project.

If you're just conforming the frame rate, it doesn't really matter whether you it before or after transcoding. If you're going to telecine, definitely do it after.

whitehorse84 said:
also.. what is the difference between proress 422, 422 HQ, 422 LT, and 422 Proxy? If this was just going to simply be edited in FCP what would be the best way to go?
Click to expand...

The difference is in file size and data rate. From highest to lowest: ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes Proxy.

Again, your client needs to tell you what they want. Just choosing a flavor of ProRes is too risky. Chances are that you won't be using Proxy, which is basically Apple's ProRes codec for offline editing. Check with the DP and ask if the project needs 422 HQ, 422, or 422 LT.
 
bill totolo said:
If you want the highest resolution and D/R out of the 7D you really should investigate 5DtoRGB.
It takes longer to transcode but the difference is significant.

Yes, I am a friend of the author, no I am not paid or endorsed to promote his product.
Click to expand...

Any comparisons? I saw two comparisons between 5DtoRGB and Streamclip -- each showed little to no difference between the two.
 
C2V said:
The DP needs to tell you which frame rate to use, but he also needs to tell you whether you're simply conforming the frame rate or performing a telecine instead. Simply conforming the frame rate changes the playback speed. Telecine converts the 23.98 video to interlaced 29.97, and is used to edit 24p material into a standard 29.97 (60i) project.

If you're just conforming the frame rate, it doesn't really matter whether you it before or after transcoding. If you're going to telecine, definitely do it after.



The difference is in file size and data rate. From highest to lowest: ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes Proxy.

Again, your client needs to tell you what they want. Just choosing a flavor of ProRes is too risky. Chances are that you won't be using Proxy, which is basically Apple's ProRes codec for offline editing. Check with the DP and ask if the project needs 422 HQ, 422, or 422 LT.
Click to expand...

Co-sign this. If you're confused about which one to use...... a lot of people use LT, but that's just because it takes up less HD space w/o sacrificing much quality. If it's only for online playback, LT should always do it. If you're talking about putting it on BR or a larger screen, LT might not be the best route.
 
All I can say is run your own test to draw your own conclusion.
Comparing compressed clips on YouTube and Vimeo will not provide very accurate info.
View each clip at 400% to really analyze the nitty gritty.

I watched the Oscar nominated short films this weekend and saw some gnarly looking DSLR's footage.
I really wonder what the workflows were.
 
bill totolo said:
If you want the highest resolution and D/R out of the 7D you really should investigate 5DtoRGB.
It takes longer to transcode but the difference is significant. .
Click to expand...

Also, while there isn't a batch process built into this yet, you can find a terminal code string that allows you to run multiple instances at once. This has proved to be incredibly convenient, and our color timer now has the ability to spend some extra time on details instead of loading one clip at a time.
 
+ stream streamclip
Also can try Aneesoft Free Video Converter, which allows you to handle with sorts of camera videos~
 
Jane55 said:
+ stream streamclip
Also can try Aneesoft Free Video Converter, which allows you to handle with sorts of camera videos~
Click to expand...

Hi guys, any experience with "ImTOO video Converter Ultimate 6" ? I used to for some conversions to be put on Vimeo/Yourtube and worked very well. But I am not sure if it can stand up for some prosumer tasks. Any experience ? THX
CIPO
 
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