I am new to working with MTS files in prelude and eventually Premiere and have a few questions about the proper workflow. I would be very grateful for any wisdom.
first off background on the project:
- We have .mts files from several different consumer Vixia cameras
- The cameras used the same naming convention for each card. (starting with 000.mts working its way up). These means we have several different .mts files, with the same name.
- The file structures were copied over directly from the cards, and therefore unchanged. However, I still can't work with the metadata for some of the clips... and therefore suspect i need to transcode some of them.
1. Is it a problem that there is a redundancy in the naming of the .mts files, and that i will have several clips in the project with the same name? All the clips are organized into a folder structure based on date and roll, so i'm not worried about the name redundancy when i'm actually editing. I am worried that if the media gets disconnected Adobe won't know which clip to look for, and may try to reconnect the wrong clip with the same name. Does Adobe reconnect based only of file name, or does it also look at the path?
I'm scared if i change the file name, it will be hard to make sure the file name is changed across the folder structure, and therefore the native structure could be corrupted.
What is a best practice workflow for working with .mts files with the same name in adobe?
2. Alot of the footage is shot by non-professionals, who didn't know to break up clips. Therefore, we have a lot of "spanned" .mts files. is there any solution to spanned files? I've read in a previous forum that there is not, and that the only way to avoid the issue is to transcode. Is that information still true?
3. If i do have to transcode, what is the recommended codec? I usually go with prores 4444, but that codec's file size is way too big for the amount of footage we have to go through. Any suggestions?
I would be so grateful if anyone can help on these questions!!
Hi Luciecharlotte, Did you ever get an answer to these questions? I'm coming off a DSLR workflow, where I was accostomed to doing batch renames for .mov files in the root directory in order to avoid redundancy. Have you had any luck with this? Are transcoding from within the program or using a 3rd party?
I'm just venturing into the AVCHD world.
Working with these AVCHD files just involves a bit of care and proper project management.
eg Well named Source Folders (on local hard drives) and well named "rushes" Folders in your Premiere Project.
Take care when importing/ ingesting to not overwrite the files at any point..
No need to rename or transcode source files.
Relocating / Relinking is not an issue. (especially if you dont lose them in the first instance).
If workflow involves additional pipelines eg delivery via edl to a Color Suite.
Ensure timecode and source files are clearly set up in a manageable way.
BTW - If one is able to shoot with control of timecode..its helpful. eg Card 1 = 01:00:00:00, Card 2 =02:00:00:00 etc...