Optimized media and color correction

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Level 1

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Optimized media and color correction

Hey all!

I need some clarification on this, hopefully someone can help.

I'm filming on a Canon 5D, shoot flat, and edit with FCPX. I create short web videos that are between 2-5 minutes. I've been told to always optimize media on import to speed up the editing process, and have more wiggle room when correcting colour.

In the past I've been optimizing to ProRes HQ on import, and it has been taking up too much disk space. I've started to transcode into Proxy instead, then swap back in my original H.264 footage before export. However, I just participated in a filmmaking workshop and we only had a few hours to shoot, edit and export a project. I had no time to transcode and I discovered H.264 editing ran smoothly on my machine. This left me with some questions...

1) For small < 5 minute videos, with minimal compositing. Are there really any benefits to transcoding if your machine can handle H.264?

2) Is it really true that Transcoding to ProRes on import gives you more room to colour correct in post? If this is true, then wouldn't re-importing your original H.264 files before export if you were editing in proxy negate any befefits of this?

Looking to streamline my workflow, and any insight would greatly help.

Thanks!

MacBook Pro (15-inch Mid 2010), Mac OS X (10.7.2)

Posted on Nov 15, 2012 6:57 AM

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Answer 1

Tom Wolsky

Level 10

151,010 points

Nov 15, 2012 7:00 AM in response to kickthegrind

1) No.

2) I don't understand the question. Why do you have to reimport? There is no ral benefit in proxy media if your computer can handle H.264.

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Answer 2

kickthegrind Author

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Nov 15, 2012 7:36 AM in response to Tom Wolsky

Sorry I meant re-connecting. My fault.

I'll phrase that again. I heard re-reconnecting the original H.264 files was required because transcoding to Proxy or LT on import reduces the image quality significantly, and you don't want that loss of IQ in your final export. You re-connect your original media once you have picture lock, and then do your final export.

So to sum it all up - When editing H.264, I get no benefit during color correction if I transcode my media on import?

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Answer 3

Tom Wolsky

Level 10

151,010 points

Nov 15, 2012 7:40 AM in response to kickthegrind

It depends on the color correction. A simple grade without secondaries probably work fine in H.264. A grade with selective color correction and/or masks ProRes will work much better.

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Answer 4

kickthegrind Author

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Nov 15, 2012 9:48 AM in response to Tom Wolsky

Thanks Tom!

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Answer 5

Nov 15, 2012 10:04 AM in response to kickthegrind

kickthegrind wrote:

Sorry I meant re-connecting. My fault.

I'll phrase that again. I heard re-reconnecting the original H.264 files was required because transcoding to Proxy or LT on import reduces the image quality significantly, and you don't want that loss of IQ in your final export. You re-connect your original media once you have picture lock, and then do your final export.

You heard wrong. Reconnecting (I suppose you mean "relinking") a clip that was not offline to begin with has zero effect.

All you really need to do is:

1) If you are editing in proxy, then before you export switch back to original/optimized media (in Final Cut Pro->Preferences->Playback); note that also it says "Playback" it affects what is exported also. You don't want your "master" export to be proxy, of course.

2) If you are using original/optimized, do nothing. When you have optimized versions of your media, those will be used (again, relinking has no bearing on that). I don't think that there is any point in forcing the use of original over optimized media, but, if you really want to, the only way to make that happen is if you don't have optimized media. You might delete the optimized versions at that point (and then you might have to relink!), but I see no good reason to do that.

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