FCP X pro. ANy mention of Codecs?

[David Battistella]

The basic idea is:

any codec in
ONE pristine CODEC out.

I think that this means mixing and matching all formats and having the timeline output a floating point output (or a custom codec if you want)

David

Peace

[Greg Burke]

hmmm.ya i wasnt sure I can drop any codec into FCP 7 but I not only have to render but some codecs will cause my Final cut to crash on a regular basis, H.264 in particular

[Bret Williams]

I’m not sure I understand your point. Yes, it’s iMovie pro. And in the regard you speak of, iMovie is much more capable than the 12 year old code of FCP.

Space is an issue for very few people in the professional field where an hours work will buy a Terabyte or two. However, converting to pro res from other formats will lessen the quality of the video a meager bit, AND take up more space, and leave you with transcoding to do AND leave you with 2 files. So your point was?

And what does FCP 7 crashing when you put incompatible media into it have to do with FCP X?

[Greg Burke]

my point is WILL FCP X handle timeline Codecs in the way the NEW ADOBE Premier does..

[Chris Borjis]

Look at the big screen shots.

one shows h.264 and prores clips in the bins.

[Martin Curtis]

Screenshot showing different codecs

[Craig Swanson]

I can open my FCP 7 and show you those same codecs in my bin and on the timeline…but it doesn’t mean it can handle it.

Macbook Pro 17
10.6.2
2.6 ghz
4 gigs ram
GeForce 8600 GT 512 mb
Caldigit HDOne Raid 5
QT 7.6.3 / QT 10.0
FCS, CS4 Production

[David Battistella]

I think that this is the point of background rendering and 64 bit. Rather than seeing red bars, the software is doing what it needs to under the hood to five the creative process.

This is why the software is leveraging so many different system resources, CPU GPU and software accelelration.

I would think that Apple has their own version of the “mercury engine”.

If you really think that FCP X won’t compete with Adobe then you have to rewind and figure out that it took Adobe 11 years to create a completive suite the FCStudio.

Now the bar gets raised again.

Just for the editing alone people should move over because Premier, FCP and AVID are non linear editors that base themselves on tape based OURCE RECORD idea.

That is gone in FCP X and I say ‘ THANK GOD!” someone is creating software with a new approach to EDITING.

David

Peace

[Francois Jean]

hello creativ_s
I think that when you have one of the best editing codecs in the world ( which Adobe does not have yet … ) by editing codec I mean a codec that will almost not deteriorate in multi-generations situations and that scrolls fluently, I don’t see that this will go away. In any situation it is always wise to use ProRes on ingest and reduce problems. Even DnxHD is far more reducing in quality on the first generation than ProRes. When one gets in multinesting etc … this is crucial. ProRes 4444 is an absolute delight at 330 mb/s it did not show any “aberration” from high end inputs and “image sequence” in a test we did using a “difference composite mode” comparison.

Viva Prores

ZAP

PS ThunderBolt should be a great tool to run in ProRes4444 , we are so lucky.

[Jerry Hofmann]

It was stated it would work with any codec as source. It renders it to the sequence’s settings in the background as soon as you place the file in a sequence. It was intimated that all codecs will be supported.

Jerry

Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann

Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup

8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.