Frage von vanek:
Ahoy, lost my 25f project now with the general setting HDV recorded and assumed that the material in 1080 @ 50i will be .... but in the clip info is now 1080 @ 25p ...
My plan was to restore the 50i and 25p sequence then edit the material, I can still use now?
And also I heard the s ProRes 422 codec is good .... because with his power, we have rotated the picture and rotate s.Ende need.
If I use the codec's .... I want him to have final cut 6 in the recording settings instead of HDV or was previously in the sequence and if so how do I then adjust the sequence so that it effects the progressive rendering? ?
In HDV1080 @ 25p or synonymous prores422 @?
Questions about questions ... perhaps someone has lustful soon have to answer only today to restore the canon
(ps is the apple Interm. codec actually out?)
Antwort von Axel:
Ahoy, lost my 25f project now with the general setting HDV recorded and assumed that the material in 1080 @ 50i will be .... but in the clip info is now 1080 @ 25p ...
My plan was to restore the 50i and 25p sequence then edit the material, I can still use now? If you've recorded with 25f, do you want to work progressively, a 50i timeline does not fit together. That must be quite clear you have been. When recording there is only HDV, the sequence is crucial setting.
And also I heard the s ProRes 422 codec is good .... because with his power, we have rotated the picture and rotate s.Ende need. HDV is anyway always rekomprimiert otherwise would not even tough cuts possible (GOP structure> frame accurate cutting). The Rotate the picture does no loss of quality. For multi-color makes HDV then limply. The avoids either the A1 through the presets or you need to take a different codec.
If I use the codec's .... I want him to have final cut 6 in the recording settings instead of HDV or was previously in the sequence and if so how do I then adjust the sequence so that it effects the progressive rendering? ? In the sequence and in the render settings (important: not 1920p and 1440). When writing to the timeline, Final Cut Pro will ask whether the sequence settings s.das material should be adjusted, you click "No". From there you s.hast in the timeline a green render bar. The real quality you see only after rendering. Then, the film is about 4 times as large as the original HDV. I would now like you have experience with the exchange with AAE report, but I can not, because I no longer have. I will send according to the Motion Compositing (no export = no recalculation of the transfer). My tip is to stay in HDV, if the material permits. ProRes tolerate more washes, but that is synonymous everything. The quality is not better than the original. The Intermediate is no quality gain, only larger files. Reports about your experiences.
