In contrast, and as shown in Figure 2, Final Cut Pro 7 converts all AVCHD files into ProRes format as part of the ingest process. Ingesting AVCHD into Final Cut Pro 7 involves transcoding from AVCHD to ProRes. This involves no conversion of any kind, and no generational loss.įigure 2. The preferred workflow for Premiere Pro would be to copy the files from camcorder to computer outside of the application, perhaps with Windows Explorer on Windows or File Manager on the Mac, and then import the files into Premiere Pro. Accordingly, the process of transferring the video from camcorder to hard drive can be a simple file copy, or a transcoding, depending upon which editor you use.įor example, Adobe Premiere Pro works with AVCHD files natively, or in the original format, without any conversion whatsoever. However, when working with a digital camcorder, the video is already stored in a compressed digital format. When working with analog video, this transfer was called video capture, which-like the process that occurred in the Panasonic camcorder-involved both digitization and (in most instances) compression. We then transfer the video from camcorder to hard drive. We shoot in 1080 30p (1920x1080 resolution, progressive, 30 frames per second) and the video is stored in AVCHD format at 24Mbps.Īs part of this process, the video is digitized, or converted from analog to digital, and encoded (or compressed), or stored in a format used for storage or transmission. We start with the video shot by the camcorder, in this case a Panasonic AG HMC150 ( Figure 1). Read on for our attempt to bring clarity to the lexicon of streaming media workflows and processes as we follow the life of a video from capture to consumption (on multiple platforms, of course). These are terms we use every day, but few, if any, have precise definitions. Along the way, the video is digitized, encoded, re-encoded, and frequently transcoded, with possible stops along the way for transrating, transsizing, and transmuxing. Streaming media production starts with the infinite real world as captured by the lenses of our camcorders, and ends with the tightly compressed files necessary for streaming delivery.
This article is part of Streaming Media's "What Is" series.
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