background rendering/ transcoding – kind of a joke?

[Andrew Richards]

Yeah, for everything to fully complete it can take a long time. Try adding a speed change with optical flow to something!

The difference is you can keep working and you get (in my opinion) a very good preview of what the final render will look like. No more red lines over the timeline that force you to sit on your hands while you wait to see if you like the last keyframe tweak. I’d say that is an improvement.

Best,
Andy Richards

VP of Product Development
Keeper Technology

[John Spirou]

You dont have to transcode anything (if its supported natively ).
I do a lot of imports of .mov , .h264 etc and no need for transcoding.

Even if i have to, you dont have to wait , you just work with native files and when transcoding is done , you just continue to work.

[Neil Goodman]

but if you dont dont transcode, then essentially your editng an h264 file, which doesnt quite hold up the way a Pro res file does when it comes to color space and whatnot ans also isnt as fast and efficient in the way your computer handles it.

I do like you can see the effect almost instantly while it does render, thats a nice touch for sure, but still everything seems a bit faster, even basic rendering of a say a color correction in FCP 7.

Neil Goodman: Editor of New Media Production – NBC/Universal

[John Spirou]

I dont have any problem doing native edit and CC .
I did many video clips for TV with Premiere CS5 until now and no problem at all.

If you want to transcode, you can do that, and until the transcoding ends , you can keep working with native files.
Its transparent to the user, you dont have to do anything.

Make the rough cuts, basic editing, titling , audio mixing etc… and then you can do some more precise CC with the Prores files.

[Neil Goodman]

yea my point izs, by the time your finished with your, cut those files arent really ready and you have to sit and wait for the program to catch up. Which is about the same time if not more than just doing that beforehand in mpeg or compressor, and then rendering as normal.

Neil Goodman: Editor of New Media Production – NBC/Universal

[Andrew Richards]

[Neil Goodman] “but if you dont dont transcode, then essentially your editng an h264 file, which doesnt quite hold up the way a Pro res file does when it comes to color space and whatnot ans also isnt as fast and efficient in the way your computer handles it. “

Transcoding first only aids in processing time later. You don’t gain any new color space from transcoding, and all the rendering takes place as Pro Res anyway. There isn’t any generational destruction going on if you work natively, it just means your renders will take longer than if you transcoded first.

Best,
Andy Richards

VP of Product Development
Keeper Technology

[John Spirou]

First , i dont ever transcode.
My MBP is very fast and i cant see any difference in quality .
On the contrary, if you transcode with any program, there will be a small loss in quality.
If you have a fast machine (i have i7) you dont need to.

[Ben Holmes]

Yes – not sure I’ve got to the bottom of this either. I’m not entirely sure what I’m doing yet.

One thing I have read – X renders anything in the timeline at higher nitrates (I thought I read 32 bit somewhere) so transcoding is really unneccessary from a quality perspective. But it seemed to me the render bar did not move that quickly when I thought I’d turned this off.

Sure – real time performance is great, but presumably you need to render fully to export…

Edit Out Ltd
—————————-
FCP Editor/Trainer/System Consultant
EVS/VT Supervisor for live broadcast
RED camera transfer/post
Independent Director/Producer

https://www.blackmagic-design.com/community/communitydetails/?UserStoryId=8757

[Joe Murray]

Sounds like you need a new computer. Wait a sec – Apple probably has some faster ones right around the corner!

Joe Murray
Edit at Joe’s
Charlotte, NC

[Chris Kenny]

[Ben Holmes] “X renders anything in the timeline at higher nitrates (I thought I read 32 bit somewhere) “

32 bits per pixel, or 96-bit color. Enough precision to represent 792,28,162,514,264,337,593,543,950,336 individual colors. Seriously.

—
Digital Workflow/Colorist, Nice Dissolve.

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