Frage von soeren_hh:
Hello together,
for our next project we want to us to purchase a Panasonic HMC 151, since this camera in 720p mode in 50 frames can hold. The camera is AVCHD, which with with the free tool of Panasonic / MainConcept in DVCHD-Pro 50p can be changed and should be.
Unfortunately, we can no second identical camera and make it hardly gives the cameras record in 720p, the second camera is recording in 1080i.
My question prior extensive search resulted in no direct answer:
Can I use 720p (DVCHD Pro) and 1080i in a project (Adobe Premiere Pro) editing together?
How could I use the 1080i (which probably synonymous in AVCHD will be) in advance 720p s.besten naturally DVCHD-PRO-50p - Convert?
What workflow hit her before and what programs / codecs to resize or deinterlace do I need?
Thanks for all replies!
Antwort von pailes:
On the Mac you can with the tool "Compressor" of Final Cut Studio after 720p/50 transcode 1080i. Depending on the quality (scaling algorithm and de-interlacing method) takes very, very long, but quite acceptable from. I've now done several times already and the result could be seen. The 720p/50 material of the HMC provides are entitled to lengths better. I personally would DVCProHD, since the resolution of your material is then again runtergeschraubt.
Antwort von soeren_hh:
ok, it would in any case not possible, I do not know!
Beautiful course, a wär Premiere Pro workflow without detours on Final Cut!
Bin gespannt obs more ideas there.
And just to work with AVCHD, I imagine quite a chore before because the computing power is immense and will be higher especially in applications in After Effects Calculator perhaps my slow performance s.seine limits could.
- Soren
Antwort von handiro:
On the Mac you can with the tool "Compressor" of Final Cut Studio after 720p/50 transcode 1080i. Depending on the quality (scaling algorithm and de-interlacing method) takes very, very long, but quite acceptable from. I've now done several times already and the result could be seen. The 720p/50 material of the HMC provides are entitled to lengths better. I personally would DVCProHD, since the resolution of your material is then again runtergeschraubt. I work very strange s.einem what with Project A-cam HVX 201 in DVC PRO HD 720 p with B-cam Canon HV20 was rotated in 1080p and I can both format easily into the timeline of Final Cut Pro editing and drag. I could even 4:3 interlaced PAL DV material with the draw and hidden inside to inflate 16:9 PLUS shots filmed by mobile phone in H264 (which I had but render)
All in all it was a great relief for me! Final Cut Pro has made significant progress! I had thought I should be synonymous big umkonvertieren .... the whole project is divided into ProRes HQ and I'm really excited.
Antwort von Axel:
And just to work with AVCHD, I imagine quite a chore before because the computing power is immense and will be higher especially in applications in After Effects Calculator perhaps my slow performance s.seine limits could. True, it's bullshit, with AVCHD natively
edit a real care to make, that's just like chewing stock cubes.
Final Cut Pro has made significant progress! I had thought I should be synonymous big umkonvertieren .... the whole project is divided into ProRes HQ and I'm really excited. An open timeline, which is fine. Ade rendering. Other hand, of course, only a real-time luxury. Changed to be anything but yes someday. And when is the next luxury: ProRes.
Antwort von soeren_hh:
Mhmm .. nobody else has even more hints about such a workflow in Premiere Pro?
@ Handrio: and in what format and Resolutiongibtst you from the movie? For what will the video? Web, DVD?
Greeting
Sören
Antwort von pailes:
I work very strange s.einem what with Project A-cam HVX 201 in DVC PRO HD 720 p with B-cam Canon HV20 was rotated in 1080p and I can both format easily into the timeline of Final Cut Pro editing and drag. I could even 4:3 interlaced PAL DV material with the draw and hidden inside to inflate 16:9 PLUS shots filmed by mobile phone in H264 (which I had but render) That's everything correctly so, but Compressor gives you methods for De-Interlacing/Skalierung that you as in Final Cut Pro did not. And as far as I know Final Cut Pro can from 1080i synonymous not make 720p/50.
Antwort von soeren_hh:
ok, but I haber neither mac nor Final Cut Pro ...
other alternative?
greets Soeren
Antwort von handiro:
Mhmm .. nobody else has even more hints about such a workflow in Premiere Pro?
@ Handrio: and in what format and Resolutiongibtst you from the movie? For what will the video? Web, DVD?
Greeting
Sören the final product will be available in ProRes HQ issued, it can I make the TV version or a copy movies if I so want to go to festivals ...
Ich hab mir s.Anfang synonymous worried and was pleasantly surprised how well Final Cut Pro has become now!
With Premiere I know sorry is not enough.
Antwort von handiro:
I work very strange s.einem what with Project A-cam HVX 201 in DVC PRO HD 720 p with B-cam Canon HV20 was rotated in 1080p and I can both format easily into the timeline of Final Cut Pro editing and drag. I could even 4:3 interlaced PAL DV material with the draw and hidden inside to inflate 16:9 PLUS shots filmed by mobile phone in H264 (which I had but render)
That's everything correctly so, but Compressor gives you methods for De-Interlacing/Skalierung that you as in Final Cut Pro did not. And as far as I know Final Cut Pro can from 1080i synonymous not make 720p/50. Since you'll be right, I'll just see how the final product output in ProRes looks, but otherwise, I must stop on compressor convert. At the moment, but I see no problems and artifacts .... wonder synonymous, but perhaps the surprise is yet .... hope not ... maybe I should have a converter for output of a CRT care, that I may be on a TV monitor can see .... sooner had my mac have a video output, now only DVI ('m on mac book pro)
The times would be a question: how can I s.das MBP s.billigsten a normal TV monitor connected?
Antwort von handiro:
Sören, I'm sure there are more alternatives / solutions for PC than mac for your question. Just google?
http://www.100fps.com/
http://www.canadiancontent.net/tech/software/deinterlace.html
http://www.freedownloadscenter.com/Best/avs-deinterlace.html
etc. ..
Antwort von soeren_hh:
@ Handiro: mhm, have been in SD projects with Avisynth and virtual dub deinterlaced, but always thought these programs only work with avi files and no case with AVCHD data ...
Antwort von handiro:
@ Handiro: mhm, have been in SD projects with Avisynth and virtual dub deinterlaced, but always thought these programs only work with avi files and no case with AVCHD data ... I do not know but it comes from if you look at AVCHD .....:-) letting both of these miserable sony XDCAM codec as synonymous of AVCHD, just why are so cheap because they have a extra conversion step and require storage on the cheap recording medium can. The cost of computer time and is the reason why I was not out of embarkation. You need to have just 2 x convert.
Antwort von wolfgang:
So, 720p and 1080i to mix, is of course not ideal - perhaps even go halfway when you are 720 50p and 1080 50i mixed, but tend not 720 25p/24p and 1080 50i.
And then of course it could be difficult, with real-time preview of the cut - the stop for AVCHD is already difficult enough, if the project settings to the exact material properties undertaken. If the in CS3 is different, please correct.
For such a combined operation would be to use an intermediate codec a very good choice - such as the Cineform codecs. The Canopus HQ codec - which I think is better, but rather under Edius halt - it is for Premiere, but rather to advise against (at least for CS3 was the not so great use, for CS4, I have not tested).
Antwort von soeren_hh:
ok, so nochma to mitmeißeln:
one possibility would be
1. 720 / 50p and 1080 / 50i as AVCHD recording
2. Both AVCHD files via cineform neo scene cineform in 720 / 50p avi convert (if it works)
3. both files in 50p Premiere Pro timeline editing
4. as mpeg2 for dvd output
is this correct, otherwise, please correct or clever solution
- Thx Soeren
Antwort von Axel:
4. as mpeg2 for dvd output Well, 50p is in ninth with a way for the prescribed DVD PAL (25i, fks50i and 25p at the same time as two fields, with which the European, 4% accelerated movies encoded) and NTSC (30i, fks60i, and the 24p used for movies, which can be calculated from 30i) to be confused. This means that you have to decide whether you have to re-interlace 50i want or wish away the second phase, in order to get 25p. Only for a compatible DVD player, of course.
