Join Frank Rohmer for an in-depth discussion in this video Converting non-drop to drop frames, part of Photography Video Workflow: Final Cut Pro + Canon 5D Mark II.
Because the Canon 5D Mark II records the video in a Non Drop file format, I've…had a lot of people ask and I have even seen a few blogs regarding how can they…get around this? How can they take the Non Drop file format and change it to a…Drop-frame for broadcast reasons?…Well, believe it or not, you can do it with ease in Final Cut Pro. It's just a…matter of setting up a Preset within Final Cut Pro to handle this seamlessly…without affecting the video whatsoever.…Now, this is very similar to creating a new project that we did in a earlier…lesson with a couple of different keystrokes. So let's jump right into it.…
First things first, I would like you to close any opened project within Final Cut Pro.…The way to do that is to navigate up to the left-hand corner and Ctrl+Click on…any Project Tab. Don't close the Effects Tab, just close the Project Tab. So…Ctrl+Click and select Close Tab. I want you to close all projects until you see…three things, the Browser, the Viewer, and the Desktop.…Once you have done that, I'd like you to navigate back up to the word Final Cut Pro…
Photography Video Workflow: Final Cut Pro + Canon 5D Mark II was created and produced by Frank Rohmer. We are honored to host his material in the lynda.com library.
- Preparing system hardware for editing HD footage
- Creating a Canon 5D Mark II project preset for HD video
- Transferring and importing Canon HD video files into Final Cut Pro
- Editing with three-point edits, drag and drop, and automated techniques
- Understanding transitions and filters for HD video
- Converting non-drop frame to drop frame for broadcasting
- Finishing a project out to DVD, Windows Media, Flash, or QuickTime
Skill Level Intermediate
Q: In the sequence in the "Auto sequence setup" chapter, the QuickTime video setting is set to H.264, after the instructor prompts us to import the movie into ProRes422 or similar. Therefore, my movie will be 422 and my QuickTime video compressor sequence setting is H.264. Shouldn’t the sequence be set to the same codec as the movie that has been imported?
A: The general rule is that you should edit your footage in the same codec that it was shot in unless you are shooting with a codec like H.264 (Canon, HDSLR cameras). Outside of the HDSLR circle, professional videographers will select a video camera that they believe has the best codec to shoot in. Once that selection has been made they'll typically leave the codec alone while editing.
In the case of Canon HDSLRs, the codec is very challenging to work with, hence the reason for transcoding to ProRes 422. Because H.264 is extremely tough for all editing systems, Canon recommends transcoding their H.264 native codec to ProRes 422. You don't have to do this. Final Cut Pro will edit either way.
Even if the sequence settings are different then the codec used, Final Cut Pro will allow you to go either way. You always have a choice. That's one of many reasons to use Final Cut Pro.