'Broadcast Quality' Workflow with Timecode for 'Prosumer' Camcorders and DSLRS - (LW Pro) Posted by ozsteam - 13 Sep :56

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1 'Broadcast Quality' Workflow with Timecode for 'Prosumer' Camcorders and DSLRS - (LW Pro) Posted by ozsteam - 13 Sep :56 Here is one successful transcode workflow option using the recently released AWU transcoder. (EDIT: AWU has been replaced by the AWPro Suite) This workpath is designed for Lightworks Pro as it accepts the broadcast quality ProRes and DnxHD codecs. It's fast, efficient and accurate. It may not suit everybody but it is an elegant way of getting broadcast quality results from Lightworks with prosumer DSLRs and Camcorders. Background: High end 'prosumer' cameras like my Sony NEX VG20 shoot HD video using the AVCHD V2.0 codec at frame rates of upto 60fps Progressive. Although AVCHD will edit directly in LW Pro, it is an 'aquisition' codec, not really an 'editing' codec so on many low spec 'domestic' PCs with relatively slow hard drives, the editing experience can be less than satisfactory. The ideal solution then is to custom build a dedicated work station PC with two 10,000 RPM drives running in Raid 0. There is however, a much cheaper solution: Transcoding. You can 'transcode' AVCHD to a more 'processor and edit friendly' codec. Two of the best are Avid's DNxHD and Apple's ProRes so in order to retain the quality of the original images, you choose the HQ versions of these codecs. Again, editing can be slow and clunky due to the massive file sizes so the alternative is to transcode to the 'proxy' or low rez versions of these codecs. Trouble is, picture quality suffers so yet another solution is required. This transcode workflow is similar to an offline/online edit from the old days where you edited on cheap hardware capturing timecode then performed an online edit from the original tapes on expensive (hired) equipment. Timecode ties it all together but most prosumer cameras don't record timecode. [more info on ProRes & DNxHD: An Elegant Solution: I had used DSLR Post Prep with LW Beta so asked fellow Lightworks enthusiast, Wayne Norton from HD Cinematics to adapt his new beta transcoder with a timecode option. Wayne has now released AWPro (Advanced Workflow Professional) which will transcode several different camera formats to HQ and Proxy codecs sumultaneously whilst 'embedding' identical Timecodes (and Reel Numbers) into each version. You edit with the low res proxy version, then render out your final Lightworks edit to the HQ versions. Here's a simplified workflow: 1 / 8

2 1) After downoading and installing AWpro, transcode your selected AVCHD takes to the codec of your choice and check the 'Timecode' and 'Proxy' options. (I chose ProRes 4:4:4 YUV 220Mbs HQ, just for fun. These files are so big, they will not even play in LW on my laptop, let alone edit!) 2) AWPro will create the HQ transcoded files along with a Proxy folder in your designated directory. Each HQ file and it's associated proxy will have identical timecodes. 3) In Lightworks, import your proxy files using the 'create link' option. 4) Edit your programme 5) On completion, close LW, delete (or move) your proxy files from your directory and replace them with the HQ originals. (Several other methods are available but this one uses only a few mouse clicks) 6) Open Lightworks which will now 'see' the HQ files as the originals as they have the same timecode/reel numbers and render out your programme to your desired output format. AWPro is available free at: hdcinematics.com/tools/awprosuite.html As always, read through the support documetation and perform some test edits first. Posted by sennahojx - 13 Sep :16 What am I missing? When I click on transcode I got an error that says: please select a valid output directory. I have tested with both my desktop and some other places. Posted by ozsteam - 13 Sep :25 In AWU, make sure you have a directory selected in the box below the HD codec window. Click in the box to locate your directory. (I created a test directory on my D: media drive) Remember to look through the support documentation with AWU. Like all programmes, there's a learning curve. 2 / 8

3 Posted by sennahojx - 13 Sep :52 I have read the documentation, but no luck. I used the same directory as the website said in an example. I attach a screenshot, maybe I'm blind. Posted by tin2tin - 13 Sep :05 Double left-click in the Output Dir text box to open a directory selector. Posted by sennahojx - 13 Sep :10 OK thanks, now it works, that was easy. Posted by tin2tin - 13 Sep :19 A pretty unconventional way to select a directory which had me scratch my head too. Posted by abelmilanes - 13 Sep :35 Thank you for this tool. 3 / 8

4 Is it possible to have the option to wrap.mts files into.mov with transcoded audio and timecode? Same option as the PostPrep tool but with timecode. Cheers! Posted by ozsteam - 13 Sep :31 You mean a re-wrap to.mov, rather than a transcode? I have asked the AWU developer Wayne Norton to keep an eye on this thread but if you have any special requests, feedback or suggestions, his address is on the AWU download site. PS: you may wish to take a look at HD Cinematics' TCBurner tool which does a neat timecode 'window' burn Posted by abelmilanes - 13 Sep :40 Cool. Yes I meant re-wrap the.mts to.mov... and have the audio transcoded from AC3 to PCM... and add the TC track (as metadata). I'll fire him an . Tx! Posted by Greg_E - 13 Sep :25 Thanks for the write up, I'll try to give it a look this weekend. 4 / 8

5 Posted by notrons - 15 Sep :12 As Craig (@ozsteam) suggested I had a look into the threads here and wanted to add a little to Craigs' workflow and answer some questions at the same time. To be honest, I wrote AWU (and personally use it) to transcode GH2 footage for editing in Premiere Pro and then pass off to either DaVinci Resolve or other post-processing applications. It just happens that the same workflow can be applied to Lightworks as well, with similar results. This workflow is very similar to what Craig outlined, but you do not have to delete or move your proxy files. There is no rendering step until you are ready to final output so quality remains at a constant high level. Here is a rundown of what I got Lightworks to do... First use AWU to convert your AVCHD files, embed timecode and give each new directory of clips a unique Reel Name (important step). We will assume that you are going to edit with proxies for this workflow example. Check the "Create Proxies" checkbox and be sure to check "Create Output Directories" as well. Do not select "Use Filename as Reelname" for this wokflow... Convert your files. Have a beer...maybe two... Create a new LW project and import the files from the proxy directory (only). Edit and season to taste. When you are happy with your edits and you are ready to either export for color grading or you are ready to render the high-quality versions for final output, select Export - EDL and accept the default values. Before you export the EDL however, be sure to select the directory where your high quality versions (not proxies!) are located to write it to. As Craig mentioned, the HQ and proxy versions have the same identical names and timecodes - and they will have the same Reel Names as well (the hidden secret to the whole workflow). Save the EDL file in the HQ clip dir (kinda important). If you just want to render the edits you made as high-quality final output, simply open a new room in Lightworks. Import the high-quality clips only. Once all of the clips are imported, then import the EDL file you created from the proxy edits (should be in the same dir as the HQ clips) and magically - it links right to the HQ files and you can render high quality from there. This way you can leave the proxies (and your original edit project) where they were so if you see problems in your final render, you can reopen the project and continue to edit with the proxies without issue - just export a new EDL file when your fresh edits are complete and open a new room to import the HQ files and new EDL into and so on and so on. It is important to follow the order described as I found LW to be a bit touchy in handling the EDLs. The 5 / 8

6 same workflow works with Premiere Pro - and the EDL files are pretty much universal. If the next step is import into DaVinci Resolve, you can go ahead and close LW (save your project for tweaks and last-minute edits though - you will be able to go back and re-edit using this method). Open Resolve and import all of the clips in the HQ directory. Once imported, in the Conform panel import the EDL file you created in LW. Magically all of your edits will be in placed on the Resolve timeline and in the proper order! Color grade to taste and render out source clips to a high quality intermediate (QT uncompressed is great), or if your project is complete, render to a final output. If you will need to do last-minute edits in LW (or other NLE) simply export an EDL from DaVinci to keep up with any timeline edits you made while correcting. You will still need to render color graded files somewhere along the way but you have several options - and exporting to a professional broadcaster will be much simpler and will assure standards compliance. In Resolve, be sure to setup for reading Reel Name data from the input files. Under Preferences - Timeline Conform Options select Assist using reel numbers from Embedding in source clip file or it will not see the embedded reel names. Hope it all makes sense! Once you get familiar with the workflow you will appreciate the savings in handling and time - and your footage will all play nice with other applications... Odds-and-ends; Re-wrapping.mts to.mov with TC and reel name looks to be possible. I'll do some more testing and see what I can do for an updated version. A single-click on the label "Output Directory" also opens the directory picker dialog the same as double-clicking on the text field beside it does. To my defense - it is documented on the help page ; ) At any rate, please feel free to drop me a line and I will try my best to answer any questions or discuss adding features to future releases. Thanks to all for giving the application a try and especially to Craig who has been instrumental in helping sort it all out! Wayne Norton 6 / 8

7 hdcinematics.com Posted by Greg_E - 15 Sep :11 Wayne, Thanks for the extra details. One thing I've been looking for is something that can easily transcode things like VFW or other system codecs to get into something Lightworks or Avid can easily use (like DNxHD). The basic need is taking screen recordings to make instructional videos for class. If it wouldn't take too much work I'd love to see this added to one of your tools like AWU. Thanks again for all the work. Posted by RWAV - 15 Sep 2012 Perhaps a small trap with the workflow. "A major function of AWU is to derive clock-based timecode from the original files" if a user has spent multiple days shooting on their DSLR and wants to keep all the footage on that one card as a single reel, the shoot has passed through midnight on multiple days so there exists the possibility that one reel can have duplicate timecodes on it. This dos not mean the exact same clip start times but an event in an edit might be able to source matching media, based on Reel number and T/C, from more than one file. As for '(the hidden secret to the whole workflow)' more like professional craft knowledge in constant use for at least 40 years than a hidden secret. And, thanks for all your time and effort. 7 / 8

8 Posted by notrons - 15 Sep right you are in all regards, but please keep in mind that you are citing limitations of the AVCHD format rather than limitations of AWU! On extended shoots you may have to change SD cards once every 24 hours to maintain the time - AWU is primarily designed as a professional workflow utility dedicated to purpose. I may add some codec support in the future but probably not much else. I am always happy to discuss any tools or particulars that you have in mind however, and I am also available for consultations and custom programming engagements. If I see enough interest in a tool set I will certainly look into the possibilities. Drop me a line - This address is being protected from spambots. You need JavaScript enabled to view it with some more details and we'll kick it around! 8 / 8