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Multi-Format sequences in 6 = AOK
I’ve tested and retested the new multi-format sequences feature and its pretty darned amazing. Though I tried hard, I simply could not mess it up or make it stumble. I threw DV, 8-bit, 10-bit, and DVCProHD 23.98 on the timeline in many different configurations and it played them all seamlessly in RT, but with a green render bar (as its supposed to) on anything that was not the same format as the first clip on the timeline.
As an aside, I happpen to have my SD monitor hooked up now rather than my HD monitor, and I was unable to get the 23.98 DVCProHD to display properly from a 23.98 timeline through my Kona card to the SD monitor, even when changing the view settings to 8-bit 29.97. However, after dropping the same clip into a DV timeline it played just fine on the SD monitor. That really shows just how good multi-format feature works.
David Roth Weiss
Director/Editor/Post-production Supervisor
David Weiss Productions, Inc.
Los Angeles -
34 Replies
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Thanks for sharing David.
What machine are you running? Intel?
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Nope, still chugging away on a dual G5.
David Roth Weiss
Director/Editor/Post-production Supervisor
David Weiss Productions, Inc.
Los Angeles -
Gives me hope.
Which one? I have the Dual 2Ghz…
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Mine is dual 2.3ghz. I’m going for ProRes422 capture next BTW.
David Roth Weiss
Director/Editor/Post-production Supervisor
David Weiss Productions, Inc.
Los Angeles -
what does SD footage look like on an HD timeline is what I’d like to know.
by default does FCP upsize it to fill a 4:3 pillarbox?
From that can you scale it further so it fills the 16:9 ratio without getting too ugly?
I’ve got a TV series coming up that will have HDCAM, XDCAM, a little HDV and some SD Betasp.
Would love to just drop it all in one timeline and have it work out.
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[Borjis] “by default does FCP upsize it to fill a 4:3 pillarbox?”
Darn, you just circumvented the post I was going to do about this on very subject. Okay, I’ll forgo the screen captures now that you’ve blown the deal wide open.
So, I was tinkering under the hood a bit to see what exactly was going on behind the scenes with the multi-format thingie, and I stumbled upon the scale numbers in the motion tab. Somebody at Apple was really using their noggins on this feature, just so we wouldn’t have to use our’s anymore. That’s exactly what those Apple engineers should be doing, cuz hopefully they’re a whole lot smarter than us artists.
So, here’s one cool part of the deal… FCP 6 does in fact resize everything automatically to perfectly match the clip that establishes the timeline settings. For example: drop a DVCProHD clip onto a DV timeline, and its automatically letterboxed, with the scale set to 56.25%. Now, raise your hands, how many knew that number??? I certainly didn’t. Now, drop an 8-bit uncompressed clip on the same DV timeline — its resized to 98.77%. Who knew that???
I’m sure they did exactly the same intelligent things with the framerates and with interlaced/non-interlaced settings as well, but I didn’t dig that deep. This is so cool!!! We can do all this now without ever using our brains. I all for conservation of gray matter — that’s certainly worth the $499.00 upgrade price in my book.
David
David Roth Weiss
Director/Editor/Post-production Supervisor
David Weiss Productions, Inc.
Los Angeles -
[David Roth Weiss] “Now, drop an 8-bit uncompressed clip on the same DV timeline — its resized to 98.77%. Who knew that???”
Uh, if you drop 720×486 into 720×480, the truly correct method is to lop off the top 3 and bottom three lines.
I dunno if I’d call that one a win.
New website, new work online:
https://www.nateweaver.net -
Maybe it does all that Nate? I just did an initial look see.
David Roth Weiss
Director/Editor/Post-production Supervisor
David Weiss Productions, Inc.
Los Angeles -
[Nate Weaver] “the truly correct method is to lop off the top 3 and bottom three lines.”
Sorry fellas, getting off brutal edit sessions and it’s late (early) and I’m fried, but mathematically it’s six of one, half dozen of the other. I am not saying it works out field wise, but someone is doing some simple math over @ Apple
720*486=349920, D1
720*480=345600, DV
So, since we want to fit the D1 comp into DV we will divide DV by D1 (DV/D1)…..so……
345600 divided by 349920 = 0.98765432099
This number is rounded in FCP’s Scale terms to 98.77% (that is the number you are finding in the motion tab, David).
In the abstract, this tells us that a DV frame is rounded to 98.77% the size if a D1 frame.
Now, if I could somehow have a mathematical equation to find the music that is in my client’s head of which I have to translate into a stock music track that somehow exists on the plethora of CDs I have on hand. But that’s another problem.
Cheers.
And I can’t wait to try out FCS2, news in the editing realm has been pretty positive so far.
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[David Roth Weiss] “Now, drop an 8-bit uncompressed clip on the same DV timeline — its resized to 98.77%. Who knew that???”
Does it remain clean after final render and lay-back to tape? I always found that if FCP scaled down video by a slight amount, such as this situation, it would tend to get a bit blurry. I was happier leaving the video at 100% and letting FCP move the image by one field to keep a clean image.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html
Read my blog! https://blogs.creativecow.net/WalterBiscardi
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