Thursday
Jul152010
HD-DSLR Workflow – Part 2 – Transcoding, Syncing and More...Much More
Once the production phase of your project is complete and your Canon T2i/550D is safely put away, it's time to edit but HD DSLR footage requires some preparation before that can begin.
This tutorial video discusses codecs like H.264 and Apple ProRes 422, .thm EXIM files, clapper boards, transcoding, syncing, exporting and much more.
IF YOU HAVE ANY QUESTIONS, PLEASE POST THEM IN THE COMMENTS SECTION BELOW!
HD DSLR Workflow - Part 2 from Steve Crow on Vimeo.
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Reader Comments (12)
Love it. Thanks.
Have you considered more tutorials on Final Cut 6?
A quick one on basic editing would be awesome.
Thanks.
Hi Shawn,
Thanks for the nice comment. I would consider doing a tutorial on Final Cut Pro 6 editing but looking at my Google analytics reports what seems to be driving traffic to my site is specifically the "how to" HD-DSLR focused content I've been writing about for the last several months.
Actually my business advisers are telling me if I want to generate some actual business out of all of this I should be creating content directed at potential customers (not stuff to educate my peers)...they have a point.
I am hoping that, in the long run, I will come out ahead - my whole business philosophy is based on it!
Thanks for the tutorial Steve. I'm working with a T2i and have run into some problems with mpeg streamclip. I've been trying to transcode a fairly large file (3.5gb) using apple intermediate codec (my final destination is final cut express) and mpeg has now "stopped responding" during each of my three attempts. I was able to transcode smaller files no problem. During my first attempt the color wheel on my macbook pro popped up around 80% and once I checked my "Finder" I found that mpeg streamclip had stopped responding, after waiting a while I finally forced quit. The second try the same thing happened at 41% and the third try it happened at 19%. I'm using a card reader and external drive with plenty of space (although it's USB not FW). Any suggestions will be hugely helpful, I've been really excited about this camera, but I'm pretty frustrated at this point have hours and hours of trying.
thanks.
Kristen,
Yeah it definitely sounds like some directory or dirve is filling up and so with each attempt you are only able to transcode less and less of the source file, this is indeed strange.
You might try doing the conversion right out of the Quicktime player although you may need the Pro version of Quicktime to do that now particular since Apple totally took out a ton of capabilities that used to be in the free player.
I tried a Google search for you:
http://www.google.com/search?hl=en&client=firefox-a&hs=IaO&rls=org.mozilla%3Aen-US%3Aofficial&q=%2B%22MPEG+Streamclip%22+%2B%22Apple+Intermediate%22+%2B%22Final+Cut+Express%22&btnG=Search&aq=f&aqi=&aql=&oq=&gs_rfai=
and found similar issues but nothing that fit exactly your circumstances. I'm sorry that I'm coming up blank on this one.
Thanks for the reply and link!
After I repaired my disk permissions I ALMOST processed fully until the error message, "write error or disk full" popped up. I'm working with plenty of disk space.. Let me know if you have any thoughts on the "write error" - which is bizarre since it never popped up with the smaller files.
thanks!
For whatever reason the system thinks your destination disc is full. I assume you have double-checked your destination settings within mpeg streamclip to make sure you are saving to the drive you intended to save to.
I am pretty sure you've already done this
It's interesting how rebuilding your preferences helped
Any chance that someone could convert the file for you as a workaround? You might also try posting this issue to the Creative Cow forum. I believe they have one focused on FCE
That was great! Thanks that answered a lot of questions for me. I use FCE and
I hope it works that smooth for me, great vocal tone, well produced
Excellent video. Thank you for taking the time to post it.
I was just wondering whether it makes any difference to sycn sound bf transcoding and whether the transcoding process will have any effect on sound.
Also, I am working with Canon 7D raw footage filmed at 23.98, but I also have some b reels in NTSC 29.98 720 etc... what is my best workflow solution for dealing with the different fps? I know Final Cut Pro will play them back just fine
in the viewer/canvas but when I export the finished film, I want it to all be one frame rate. I am not using any sync sound for the b reels, just using that with music added in FCP.
Any help would be greatly appreciated.
Kice
Hi Kice,
You asked some great questions and I will try my best to answer them but it may come down to finding a workflow that works best for you. However here are my thoughts:
(I edit in FCP Studio 2/FCP version 6)
1. I always transcode into ProRes first and I leave the sound settings within MPEG Streamclip to the default uncompressed /stereo / Auto settings.
THEN when I am in Final Cut I wait until I have my footage edited down to a series of clips I am going to use in the final assembly before syncing the Zoom H4N files to the original audio for each of the clips.
2. FCP has a great solution for handling different frame rates. The first thing I do is to go into Sequence Settings and I set my options there the way I want, so I am setting frame rates, codecs, etc. THEN whatever clips I pull into the timeline are automatically converted to be all the same even if the source material is made up of clips with 10 different codecs, sizes, etc (a dialogue box will pop up asking if you want FCP to do this and you should select YES!) That makes it real easy.
3. On export you will get ANOTHER opportunity to change resolution, codecs, audio settings if you select File/Export/Using Qucktime Conversion. So even though you may have been editing on the timeline in 1080p 24fps ProRes you can still export out to whatever you like and it will all still be synced up.
I hope this helps you!
Hey Steve,
Thank you so much for the quick response.
I'm sure you know about Pluraleyes amazing new software from Singular that does the sync for you. It's quite amazing. You simply put all of your video clips in a sequence with the DSLR reference crap sound... then you add your good sound (Zoom boom lav etc) on different tracks in the sequence.
You click a button in the interface which makes the good sound replace the cam sound and you then hit a button to make it sync and voila, the thing spits out full sync sound in two forms.
1. all the clips you put in are synced as a sequence...
2. but it also adds a new master clip in the browser of Final Cut Pro.
You can add as many video clips as you like and and sound too. It will search using the crap reference sound and it throws back perfect sync.
And here's the best part. They give you a FREE 30 day trial version which is fully functional upon download. You dont even have to give an email.
http://www.singularsoftware.com/pluraleyes.html
The clap board can be thrown away bro.
Now, back to my question. So I don't have to convert my B reels using Cinema Tools? I'm talking about frame rate, not resolution. You're saying that the settings in FCP will handle that without resorting to Cinema Tools or Compressor (well, you got me into MPEG Streamclip now :)
I am working on a feature and hope to see it with a telecine transfer one day. That's why I ask, but I assume the same issues apply to HD tape for screenings.
Kice
Correct, I don't ever use compressor or Cinema Tools, just MPEG Streamclip and FCP
Yeah I am familiar with Plural Eyes but so far have just synced manually, most often without even using a clapboard. I even hmmmm "heard of" of "someone" that had a near disaster when the Rode Mic attached to the T2i was not turned on which means you get NO sound. So This person then had to "sync" the Zoom H4N audio to the video by reading lips and lots of trial and error, it worked but talk about panic!
Well, that's a relief on the frame rate.
I am using Pluraleyes and I just have to say, it really rocks. The new masterclip gets rid of the reference sound, but the old master clip is left in the browser as well. The old sound also stays with the sequence.
I just ran a test using Streamclip vs Compressor for transcoding the 7D footage and Compressor was much stronger and almost identical to the raw h.264.
I just use a droplet on my desktop and drag the files into it for Compressor. I do not like working directly in Compressor, the droplet is the way to go.
As for Streamclip, I had the settings exactly as you suggested but the image was obviously weaker in colors especially.