What codec is best to convert to in Media Encoder

[Adam Gonzalez]

Shooting with the 7D. Looking to convert footage so PPRO can handle the footage better for editing. What would be the best codec to convert the files into? Thanks!

 

[Igelkott Film]

Hi, I use and recommend "h.264 HDTV" but if you have a slower computer you can try "MPEG2 HDTV"

 

[Jim Simon]

Your first option should be to get a more powerful computer so conversion isn't necessary.

 

[Phil1076]

Hi, I use and recommend "h.264 HDTV" but if you have a slower computer you can try "MPEG2 HDTV"

I'm not sure what the point of converting H.264 to H.264 is but.....I'd suggest DNxHD..

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=423319

It's basically Prores.

 

[Igelkott Film]

I'm not sure what the point of converting H.264 to H.264 is but.....I'd suggest DNxHD..

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=423319

It's basically Prores.

Well if you really want to know there are different kinds of mp4, mov and stuff that should be h.264 but if the camera is doing a bad or overly complicate encode, a reencode to h.264 HDTV give you a stable and reliably file.

 

[Ann Bens]

I don't see the point either converting mpeg4 to mpeg4; both highly compressed.
Ppro can handle dslr footage natively but if your machine can't, get a powerfull editing rig or use Cineform for easy editing.

 

[Igelkott Film]

I don't see the point either converting mpeg4 to mpeg4; both highly compressed.
Ppro can handle dslr footage natively but if your machine can't, get a powerfull editing rig or use Cineform for easy editing.

http://en.wikipedia.org/wiki/H.264/MPEG-4_AVC

As you see her you know nothing of what you speak.

H.264/MPEG-4 AVC is merely a group name of a thousand ways to compress, each gives the computer something else to think about.

For example h.264 in level 5.2 can be encoded at 720mbit/s

 

[AndrewGentle]

I'm not sure what the point of converting H.264 to H.264 is but.....I'd suggest DNxHD..

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=423319

It's basically Prores.

Or, just use ProRes. Perhaps you could consider doing an offline edit using proxy files (you could even use an SD format) and then linking them back to your original files during colour correction?

 

[Igelkott Film]

Or, just use ProRes. Perhaps you could consider doing an offline edit using proxy files (you could even use an SD format) and then linking them back to your original files during colour correction?

Whats the easiest way of doing offline edit using proxy with premiere?

 

[Gary Huff]

Well if you really want to know there are different kinds of mp4, mov and stuff that should be h.264 but if the camera is doing a bad or overly complicate encode, a reencode to h.264 HDTV give you a stable and reliably file.

What you are doing would be like taking a 192kps MP3 file and saving it as a 320kps MP3 file. It makes no sense to do it that way, especially given that Premiere will work with the native files coming off your camera. Convert it to DNxHD, ProRes, or, hell, even DVCPRO-HD instead. Don't convert one H.264 format to another unless you are doing the final render out.

Especially not for editing.

 

[ericksonpost]

There's also Cineform. It costs a bit of money but it's cross platform. It has a free trial if you want to give it a go...

 

[Gary Huff]

AVID'S DNxHD is also cross-platform, and free.