![]() As he’s so confident in Premiere’s native codec handling capabilities, and given the hours he’s put in, you should be too. In the tweet above, he argues for leaving the files in their native format. Editor Vashi Nedomansky has edited several feature films in Premiere Pro, including Sharknado 2, and you can read more about his feature film workflow here. One of the major benefits of Premiere Pro is its ability to handle anything you throw at it. mov wrapper, using something like Edit Ready or Clip Wrap.Įditing AVCHD Media I’ve had no show stoppers on my last 3 features & long format shows using native. 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? Do you need to transcode your AVCHD media when editing in Premiere Pro? Let’s discuss this highly debated topic.
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