Kona ProRes or Apple Pro Res

[Mpigott]

To answer my own question; the Apple codec 24 is really 23.976 according to Compressor;
so I will use this

[Gary Adcock]

[mark pigott] “Looking at the Apple it says 24p, and I have no idea whether they mean 23.976 or true 24fps
“

mark….

Video is not shot at 24.0 it is shot at 23.976 (rounded to 23.98 by everything BUT AfterEffects)

FYI your camera shoots PsF in 1080 not P. The True P is only in the 720 format

( do a search in the FCP forum for P vs PsF if it matters to you)

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Inside look at the IoHD

[Mpigott]

Ok, so the XDCAM is actually psf and not p then.

When I import my footage into FCP from the Sony “teleporter”
(my name, it is actually the transfer software)
and drop it onto an XDCAM 23.976 timeline the video color code is
grey (no-render required)

But should I really be porting my footage to this codec (due to the
long GOP)

Other codecs I can try are Apple Pro-Res 24p or the Kona Pro-Res 24p.

Are these codecs actually frame compatible with XDCAM, and if not
what codec should I use in FCP?

Thanks for your help

[Gary Adcock]

[mark pigott] “Ok, so the XDCAM is actually psf and not p then.”

all Sony 1080 is PsF, as 1080 all you will see from Canon, Panasonic and JVC, Grass valley and Ikegami

[mark pigott] “Are these codecs actually frame compatible with XDCAM, and if not
what codec should I use in FCP?”

Codec’s have nothing to do with frame rates, the XDcam + Ex formats play fine with FCP, ProRes conversions will give you fast editing and layoff to tape or DVD files since that codec plays in realtime
while all of the Mpeg based codecs require re-rendering and conforming to create viable Mpeg streams.

you will be fine –

and I wish more people put this much thought into shooting.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Inside look at the IoHD