Hi Rez a sequence???

[David Roth weiss]

[Mark Griesbauer] “I’m kinda new to FCP. This step was soooo simple in M100.”

You mean to say that things you know are easier than things you don’t? That’s profound…

Also, it’s also a whole lot easier for us to help you if you instead of telling us that things just didn’t work, you tell us what steps you actually tried, where the process failed rather than how long it took you to fail, and what your original source material actually is.

Do keep in mind that the entire process you’re trying just might be a big waste of time for you, because the difference in ProRes and uncompressed may be very, very minimal if there’s any difference at all.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

EPK Colorist – UP IN THE AIR – nominated for six academy awards

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.

[Mark Griesbauer]

Hmm…ok. Thnx for the reply. I have betaSP tapes that I digitized in ApplePro Rez, so I edited with the same codec…all good there. I am finished with the edit and now I need the highest resolution that I can get to master to a betaSP tape. I have figured out that in order to digitize only the clips on the limeline and not the rest of what I digitized in the bins I had to create another timeline with off-line clips (using media manager). However, I tried several different things in the process so I’m not sure which step was needed or as you put “wasted”.

any help would be greatly appreciated
mark

[Arnie Schlissel]

If you’re trying to reproduce a workflow from your former platform, you will only cause yourself pain & hurt. I would recommend that you forget everything you know about onlining in M100 and open up the FCP manual to read about the Media Manager and the Log & Capture tools and how they relate to the offline-online workflow.

Also, as David says, there will be no visible difference in using ProRes “SQ” vs uncompressed. It’s a 10-bit codec comparable to Avid’s 10-bit DNxHD codec. Redigitizing at 8-bit uncompressed may actually be of less quality, showing banding in gradients, and 10-bit UC will look the same. I’ve checked this on video scopes.

If you originally digitized as ProRes “SQ” or “HQ”, just finish your show & lay it off to beta.

Arnie
Post production is not an afterthought!
https://www.arniepix.com/

[David Roth weiss]

Arnie and I are in complete agreement. An online to uncompressed will yield nothing tangible other than waste of your time, effort, and space on your hard drives. And, at 10-bits, the codec is actually capable of exceeding BetaSP quality, so there’s really nothing to be gained by recapturing uncompressed.

I suspect that you have the wrong concept of ProRes Mark. ProRes is not an offline resolution, but rather a very high-quality and high-performance codec designed for near uncompressed quality, but playable on inexpensive hard drive subsystems.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

EPK Colorist – UP IN THE AIR – nominated for six academy awards

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.

[Mark Griesbauer]

Ok, sounds good and thats for the reply….I will get busy reading about media manager.