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How to determine the optimized media format?
Hi X Friends,
even after I read much about following two Qs, I am still puzzled about it (I am running 10.0.9) and DaVinci 10:
1. When I take C100 and C300 footage in, and I check the create optimized media box, how can I determine, what that should be – e.g. if I don’t want that to be ProRes, but ProRes HG or 444?
2. When I send my finished project over XML to DaVinci Resolve 10, how can I set, that DaVinci will lock to the original media, not the Transcoded Media Folder?
Thanx a lot.
Greetings,
Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang -
11 Replies
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All footage is transcoded to the standard ProRes when you choose to “optimize media”. When making Proxy media, the ProRes Proxy codec is used.
There are other codecs, such as 50Mbit MPEG2 that FCPX considers optimized and won’t allow a transcode to ProRes.
If you need other codecs, you will have to transcode outside of FCPX before the edit (or use Resolve/etc to make other subsets of your media).
Jeremy
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Thank you; Jeremy. You are a well of wisdom as usual.
Unfortunately, it is what I thought, which means FCPX does not allow to specify optimised format – which, part’n my French – sucks.
It goes on my “still iMovie on Steroids” List, which are things still to be optimised in this NLE to grow into the Pro Shoes.
Basically it means, I wanna edit with 444 or HQ material I have to convert that in Compressor and then just import the file into X via copy to Event Folder without Optimising the File.Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang -
[Sascha Engel] “It goes on my “still iMovie on Steroids” List, which are things still to be optimised in this NLE to grow into the Pro Shoes.”
Oh please.
If you want to edit with 444 [sic] or HQ… set your project to use either. Done.
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You mean to set my project settings to either one of the two Codecs – HQ or 444?
But how would that influence my Optimise Footage settings?
Sorry, I am asking, but as far as I know, the project settings do not influence the import optimise settings, or did I miss something?Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang -
Simply use the original/native footage! Why insist on optimising? Aside from not even seeing the issue is to begin with, since even regular ProRes is better than anything coming from either of those cameras. Unless there’s some hack I don’t know of that lets them do better than 4:2.0 and/or long GOP MPEG!
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[Sascha Engel] “Basically it means, I wanna edit with 444 or HQ material I have to convert that in Compressor and then just import the file into X via copy to Event Folder without Optimising the File.
“That’s right. Resolve does a good job of this. It does depend on what you need to do or what you need to get out of the original footage.
I usually don’t see a value in transcoding an already compressed material with fcpx these days, unless you need more real time performance from sources like h264 or if you don’t want to work with raw while editing.
I’d send a feature request to Apple as it would be nice to have the choice.
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[Jeremy Garchow] “I usually don’t see a value in transcoding an already compressed material with fcpx these days, unless you need more real time performance from sources like h264 or if you don’t want to work with raw while editing. “
Agreed. Which was my point about the cameras. Unless you have a pretty old Mac, I don’t see what you expect to gain from transcoding H.264 or Long GOP MPEG to anything above ProRes 422. Since you factually won’t be gaining anything. Other than maybe exponentially more data.
[Jeremy Garchow] “I’d send a feature request to Apple as it would be nice to have the choice.”
Agreed also. Always helpful to give feedback. Though then, actually given 4444 or even XQ options(!), I think way too many will be using the “Goes to 11!” attitude and using them completely unnecessarily. Which may well open a whole new can of worms. Of course for those that *actually* need it it’s of course an advantage. But then, who would that be? RED shooters? RED is already automatically transcoded to 4444 if optimised. And all other high-end cameras are supported natively.
If anything, then I’d actually like AN ALPHA option for ProRes Proxy! 😛
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[Robin S. Kurz] “Of course for those that *actually* need it it’s of course an advantage. But then, who would that be? RED shooters? RED is already automatically transcoded to 4444 if optimised. And all other high-end cameras are supported natively.”
See, but what if I only need ProRes or HQ for Red material, and not 444?
I think choice is better, and it seems it would be a fairly easy thing for Apple to implement.
[Robin S. Kurz] “If anything, then I’d actually like AN ALPHA option for ProRes Proxy! 😛
“That would be great and help out a lot.
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[Jeremy Garchow] “See, but what if I nay need ProRes or HQ for Red material?”
Wait… so you want LESS color-space / quality for your RED raw? Okay. Then simply use the workflow you described. Or run it through REDCine? That or Resolve is what I use either way for a decent one-light. There are various options.
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[Robin S. Kurz] “Wait… so you want LESS color-space / quality for your RED raw? Okay. Then simply use the workflow you described. Or run it through REDCine? That or Resolve is what I use either way for a decent one-light. There are various options.”
I would love it if the broadcast world was 444, but it isn’t. Sometimes, not every time, 444 is a waste of disk space.
Choice is better.
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