HDSLR Encoding Wars – Premiere Pro vs Final Cut Pro | Paul Joy

HDSLR Encoding Wars – Premiere Pro vs Final Cut Pro | Paul Joy

Browsing the web reading various reports and reviews about Premiere Pro I keep coming across the statement that because Premiere Pro works without the need to transcode H.264 DSLR files the footage inherently retains more quality.

After using Premiere Pro for a week or so I decided to spend some time investigating this theory and came up with some interesting results that I thought I’d share with you. Firstly let me describe the workflow involved in each process.

For both workflows I used the same H.264 mov file from an interview I shot recently on the Canon 5D mark II. The file has a runtime of 4:41 and in it’s original state is 1.5GB. This was a particularly tricky shot for the codec as the background contains shaded solids caused by a natural vignette from my 70-200 lens. The H.264 codec in the 5D struggled with this and the source footage contains some macro blocking, but nothing too terrible. Lets see how the two workflows deal with it…

via HDSLR Encoding Wars – Premiere Pro vs Final Cut Pro | Paul Joy.

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