ZenFlute wrote:
David, Thanks for this tip. Your question reminds me that I've not been consistent with the camera settings. Part of the footage is from a Panasonic dvx100B, in NTSC 24p; part is from the HMC150 in PR422, 24p;and the new green-screened footage is in 1080, 30p, ProRes422. The Sequence which appears to be handling these varied formats is 24p, NTSC 480. So your question makes me wonder if I should downrez the HiDef green screen footage first, to 480, and then bring it into the timeline (how would I do that?). I'm assuming that the 24p, NTSC 480 timeline can handle the 30p footage, but maybe that's one source of the huge rendering time. If all this sounds right, how would you bring the varied codecs and frame-rates to some common ground?
Robert
Good lord. Your project is a terrible mess. Your workflow is based on groundless assumptions and erroneous presumptions. Your instincts are clouding your judgment.
ZenFlute wrote:
By the way, I have found through direct experience that what you say is true, that exporting in PR444 and then re-importing DOES retain the Alpha channel of the key, but the downside is that this re-imported file does not retain the Primatte Alpha key controls. Thanks for your help!
Robert
This is the precise issue with everything you have said: your assumptions are all so very wrong. That's not a crime, we were all new to this video stuff at one time or another. But the situation you have built for yourself is too complicated to even know where to begin to help you get out of it.
Conforming all of your disparate sources to a single editing format is crucial but that's based on your output needs, not your origination decisions. Why you allowed your photographers to give you so many different formats and frame rates is either a creative decision or a monumental screwup. If ti's creative, you must have known why you wanted those scenes shot that way and you must have known how you were going to deal with the post production weirdness.
bogiesan