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Ideal Transcode Settings for 1080p

Jon Chema

Jon Chema

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Ok guys, I've found a ton of different answers on the net regarding this topic so I hope someone can clear it up.

I'm transcoding footage from a music video that I shot on a Red One with the MX sensor. Everything was shot in 4k at 24p. I'm looking to finish in 1080p.

Now, here is my question...

What are the ideal Pro-Res settings? Should I export to Apple Pro-Res HQ or just the standard 422? Also, can somebody explain how the debayer settings play in? I've been told 1/2 premium is ideal for anything below 2k, and that full would be "overkill" and should only be used for finishing in 4k. If 1/2 debayer looks just as good I'd much rather output to that being I'm only working on a quad core iMac. Basically, i'm confused as to what pro-res and debayer settings to use when finishing in 1080p.

Apologize if this is a stupid question.

Thanks in advance everyone for your input! :smiley:
 
Definitely not a stupid question, but I think you need to talk with whoever is doing the color correcting and final output, do some tests, and decide then, otherwise it's just speculation. Full-res debayer is not overkill, though, as the denoise characteristics inherent in that level of processing will make your low-light areas look better no matter how you're finishing.

But I'd go with offline transcodes first, quarter-res ProRes 720's for the edit. Easier to play with effects that way.
 
Johnny Friday said:
ALWAYS full de-bayer
Click to expand...

Really? When you're transcoding on an iMac?

Just crank out 1/4 res debayers, ProRes standard, 720p. Edit those, lock your cut and up-res those shots, hopefully on a faster Mac. Without knowing where it's going (internet, blu-ray, HDCam master), and what kind of system it's going to be finished on, it's hard to say how you should finish. You might want to go back to the R3D's for CC, in which case your offline res doesn't matter.
 
joe hedge said:
Really? When you're transcoding on an iMac?

Just crank out 1/4 res debayers, ProRes standard, 720p. Edit those, lock your cut and up-res those shots, hopefully on a faster Mac. Without knowing where it's going (internet, blu-ray, HDCam master), and what kind of system it's going to be finished on, it's hard to say how you should finish. You might want to go back to the R3D's for CC, in which case your offline res doesn't matter.
Click to expand...

I've experienced cleaner images (noise/artifact related) when doing a full debayer. However, i am on an 8core with rocket card. BUT before i had my RR card, i was doing full debayers overnight. Of course ask anyone else or 10 people and you'll get ten answers for workflow like this....that is merely my experience and workflow i choose. I don't do any offline editing though.
 
With an M sensor a full debayer is best, i would guess (will know soon) that the same applies for a n MX sendor, especially if you choose to develop at higher ISO than 320. The MX sensor seems incredibly noisefree, but to get the most from grading and least noise, a full debayer is mandatory. I guess that's why RED has limited the Rocket to ONLY allow full debayer for renders....
 
I agree, also do a FULL Debayer. You may want to consider ProRes 444 as well which is a step up from even ProRes HQ. I think it requires FCP 7 however.
 
Everyone is quick to tell you to just max out the settings and let it ride. I think this really is overkill and you're going to pay for it with hours of rendering and gigabytes of storage.

If your shots are well lit and noise free, do a 1/2 debayer premium. Do a test transcode with one clip in to 422 and 422 HQ, and compare the two. You will probably be just fine with 422.

You could do an offline edit and then do an online pass on the clips you're using. If you shot efficiently, you could also do a basic one-light color correction pass to all of your usable shots, and transcode everything at 1/2 debayer premium in to 422 ProRes and then never have to go back and mess around with any online-offline stuff.
 
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