You don’t create a whole new candy. So in the case of C100, it will ideally be rewrapped from the original. So when you rewrap, you just take the candy out of one wrapper and put it in another. mxf files when the original camera folder structure is broken. Incidentally, I’ve also previously posted about how to work with C300. What Is Rewrapping?Ĭodecs come in wrappers, much like candy comes in wrappers. This is my preferred method when under time or hard drive space limitations, because rewrapping is faster and requires less space than transcoding. Rewrapping AVCHD Media for Use ClipWrap to re-wrap. Or for a free option you can always use Resolve itself. If you have lots of different file formats, codecs, and frame rates, you might want to transcode them all into one ‘mezzanine codec’ like ProRes, but as Premiere is designed to handle pretty much any codec natively, you might not want to do bother doing this -unless, when you’re finishing the film you need to deliver a more streamlined list of codecs upstream.Įdit Ready, Mpeg Stream Clip, and other programs will easily transcode your files for you. The downsides are that these new, duplicate files take up more hard drive space and it can be time consuming to do the conversion if you have a lot of files. This leads to speedier editing response and less potential for visual bugs and glitches to work their way in. ProRes is an ideal codec choice when editing in FCPX or Premiere, and Resolve works well with it too. The benefits of transcoding into a format like ProRes is that you’ve got a less-compressed file that the computer can more easily work with, than say H.264 or an mpeg based codec. Better to transcode in advance… - Ben Brainerd November 16, 2015 Transcoding AVCHD Media Before Biggest problem with AVCHD are TC/Clip name issues. Also if you have C100 footage, whatever else you do, you’ll definitely want to rename the files to have unique file names. You can read about that in more detail on my website, but unique file names and timecode are the cornerstone of media management. I’ve also previously posted on importing AVCHD into various NLEs. I thought I’d use this post to expand on the pros and cons of the different options. Some advocated for transcoding to Pro Res, others for re-wrapping the files into a different container, and still others for leaving the files in their native format. This simple question - should you transcode AVCHD media when editing in Premiere Pro or leave it native - sparked a very long and interesting Twitter conversation, with many different editors weighing in on the proceedings. Premiere question, transcode AVCHD to ProRes or leave it native? Case in point, my home workstation is a Mac Pro with dual GPU's and 32GB of RAM and I still convert everything to optimized (ProRes 422 HQ) in FCPX for large projects because it's just a lot faster to work with and a lot easier when you start to get thousands of objects in your timeline.Do you need to transcode your AVCHD media when editing in Premiere Pro? Let’s discuss this highly debated topic. ![]() Converting your files for editing when on anything but trivial projects (a few dozen objects or so) is really standard practice. Incidentally, this was all heavily refined and improved in FCPX (it will edit natively fairly well and handles automatic format conversion on demand) but all this improvement depends on increased computing and GPU compute power.įWIW even higher end / modern systems running FCPX are generally better performing when you use optimized/intermediate formats. FCP7 just doesn't handle native/compressed camera formats properly (H.264 from the Inspire, for example) so that's your issue. I've edited many a 1080p project on similar systems (Core 2 Duo / 4GB of RAM, etc) so you won't have any problems as long as the media is in the correct format. Those 422 files can then be pulled into Final Cut Pro 7 and you'll be able to edit them without issue. There is no audio track so you can skip that. You can do this with something like MPEG Streamclip ( ), which is the standard app that many use for this when working with FCP7.īasically, take all your MP4/MOV files from the Inspire, use MPEG Streamclip to convert them to ProRes 422 MOV files (1080p resolution, square pixel of course - you can use standard ProRes 422 or you can lower to 422 LT or 422 Proxy for rough work or increase to 422 HQ for production work). MP4 that the Inspire gives you (native format H.264) to a ProRes 422 Intermediate file (in an MOV file). So, nobody really answered your question except rickleman but to elaborate on what he said:
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