FCP file management from two different sources

Hello Guys.

I've been editing on FCP 7.0 on a Mac Pro Quad Core 2.66GHz. 7GB Ram. Video card NVIDIA GeForce GT120 512mb.
Recently (2011) we began editing digital footage, shot from our two cameras (Sony Handicam (wich produces .MTS files) and one Canon Rebel T3i (wich produces .MOV files).

Do you guys have any suggestions on file management, like , for instance, should we use the .mov H.264 our T3i shoots as standard or convert both to another codec before going to FCP?
We usually edit sequences with the convert the .mts footage to DV codec .movs and use .mov H.264 files normally but having to render them all the time (wich is troublesome, but we can live with. but as we recently acquired a Canon EOS 60D the H.264 footage will eventually be a large majority (already is around 60% but should go up to 80%)). The sequence settings are 720x480 NTSC DV.

The reason we don't edit on H.264 sequences is because we also have experienced some staggering on FCP when editing sequences on the H.264 1080p format, should this computer be able to handle it appropriately? Should I try sequences at lower H.264 setttings?

After we finish editing we export .MOV on apple ProRes 4444 and then use Encore to produce DVDs and Blu-Rays.

Sorry for my english, I don't usually speak in this technical (of sorts) language.

(just a little background: we shoot and edit ourselves for our college sports teams. we do it for the fun of it and also to record our year in sports.

just the opening for last year's video. our resources are somewhat limited but we do what we can.)

Thank you in advance!

Also, we have been considering upgrading to FCP X. is it possible, since my Mac Pro is version 10.5.6?

thanks.

It's best not to edit with H.264 at all. It's not a happy codec in FCP7. Better to convert all your footage to ProRes before importing it. Also, ProRes 4444 is probably overkill for export for your workflow. If you have the disk space there's no harm in it, but ProRes HQ would probably do just as well, since you seem to do a bunch of colour work.

Jude Cotter Wrote:
-------------------------------------------------------
> Also, ProRes 4444 is probably overkill for export for
> your workflow. If you have the disk space there's
> no harm in it, but ProRes HQ would probably do
> just as well, since you seem to do a bunch of
> colour work.


that's another question. we have, since always, worked in this workflow then exported to whatever format we wanted. we asked around and someone said ProRes 4444 was the best one and since we don't have problems with space and we wanted to record bluray, we went with it.

it always bugged me why we worked on a 480p workflow then exported to a 1080p, but I tested a bit exporting different workflows and it didn't seem to matter. It worked for us, so it was enough. Our video dept. has been around since 1988 but just last year we decided to change all our equipment and go HD.

If i want to export ProRes 4444 should I work on a 1080p workflow?

thanks.

hey, NIcodemus.

"If i want to export ProRes 4444 should I work on a 1080p workflow? "
YES!!

i think you need to look a your workflow.

at present you are:
SHOOTING HD,
CUTTING in SD
and then blowing it back up to HD for your mastering (Blu-Rays).

this is very crazy!

so, YES you should edit in 1080p

you should also convert your rushes to ProRes.
Prores 422 would probably be fine
ProresHQ maybe, if you do more grading
4444 is definitely overkill, and not really for editing

alternatively you could edit in FCPX which is supposed to be more friendly to H264, (not sure about your other format)
or Premiere.


cheers,
nick

Agree.

[vimeo.com]
this is just the teaser (once again) for our 2012 video.

after we record the DVDs and Blurays we will update our MAC and the FCP and use your tips for the 2013 video we shall be starting soon.